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<mask><mask> (January 30, 1845 – June 7, 1890) was a United States soldier and native of Pennsylvania who fought with the Union Army as a member of the 12th West Virginia Volunteer Infantry Regiment during the American Civil War. He was recognized with his nation's highest award for valor, the U.S. Medal of Honor, for "conspicuous gallantry as color bearer in the assault on Fort Gregg" during the Third Battle of Petersburg, Virginia, on April 2, 1865. The award was conferred on May 12 of that same year. Formative years
Born on January 30, 1845, at Northampton, Pennsylvania, <mask><mask> was a son of Pennsylvania natives David and <mask>. In 1850, he resided in Easton, Northampton County, where his father was employed as a distiller. Also residing at the home with <mask> and his parents were siblings: Theodore, George, Elizabeth, and William (born, respectively, circa 1841, 1843, 1846, and 1849). By 1860, <mask> was residing in New Cumberland, Hancock County, Virginia, with his parents and siblings: Theodore, George, Elizabeth, Barbara and <mask> (born, respectively, circa 1854 and 1855), Ward Beecher (1855-1913), and Myrta (born circa 1859).His father supported their large family on the wages of a miller. Civil War
<mask> fought for the Union Army during the American Civil War. After enrolling at the age of 17 at New Cumberland, West Virginia, on in August 1862, he then officially mustered in as a private with Company I of the 12th West Virginia Infantry, he was promoted to the rank of corporal sometime before April 1865. His regiment fought in multiple small skirmishes and major military engagements throughout the war, including the Second Battle of Winchester (June 13–15, 1863); expedition from Martinsburg to New Market, Virginia, under Major-General Franz Sigel (April 30-May 16) during the opening days of the Union Army's Valley Campaigns of 1864, including the Battle of New Market (May 15); Major-General David Hunter's expedition to Lynchburg, including the Battle of Lynchburg (June 17–18); and the battles of Snicker's Ferry/Cool Spring (July 17–18) and Kernstown II (July 23–24). Engaged in Sheridan's Shenandoah Valley Campaign from August 6-November 28, the 12th West Virginia Infantry then participated in the battles of Strasburg (August 17), Berryville (September 3), Opequan/Third Winchester (guarding trains, September 19) and Fisher's Hill (guarding trains, September 22). Ordered to Bermuda Hundred in late December, the regiment was then assigned to trench duties in the Richmond-Petersburg Campaign until March 1865. Engaged next in the war-ending Appomattox Campaign (March 28–April 9), the regiment participated in operations at Petersburg (March 28–29) and Hatcher's Run (March 30–April 1).On April 2, 1865, while fighting with his regiment in the Third Battle of Petersburg, <mask> performed the act of conspicuous gallantry which later resulted in his being awarded the U.S. Medal of Honor. <mask> retrieved his regiment's battle flag from a fallen comrade during the assault on Fort Gregg after two other members of his regiment had been killed carrying the flag in that day's engagement with Confederate troops. Interviewed later in life about his Civil War experiences, <mask> described how the events unfolded that day:

... about noon April 2, 1865, while the operations were being carried on in front of Petersburg, after the works of Forts Gregg and Whitworth had been assaulted for six hours, General <mask> attacked Fort Gregg with three brigades. We came from the left of the line and took the fort after a terrific struggle, during which there was no time to reload our muskets after first discharging them, and the greater number of us were forced to use our bayonets during the entire assault. Afterward, <mask>'s regiment participated in the pursuit of the Confederate troops commanded by General Robert E. Lee (April 3–9), including the battles of Rice's Station (April 6) and Appomattox Court House (April 9), and the surrender of Lee and his army at Appomattox. Marched to Lynchburg and stationed there through April 15, <mask>'s regiment then marched to Farmville, Burkesville Junction (April 15–19) and, beginning April 22, to Richmond, where they remained through mid-June. <mask>, however, was not given the same rest period.Singled out as one of 40 men to be placed on detached duty in May, he and the other group members were ordered to board a steamer, and placed in charge of guarding a series of boxes which they initially were told contained guns. Upon their arrival in Washington, D.C., they oversaw the transport of those boxes to the White House where, in front of U.S. Secretary of War Edwin Stanton and other members of President Johnson's cabinet, the boxes were opened to reveal the battle flags which had been taken from Lee's Confederate forces. After being photographed with Stanton, the men were each given two months' pay and a 30-day furlough with transportation to their homes and back to camp. Upon his return to Richmond, <mask> was presented with his Medal of Honor (see "Medal of Honor citation" below), and was then honorably discharged with his regiment on June 16, 1865. Post-war life
Following his honorable discharge from the military, <mask> returned home to Pennsylvania. In 1868, he moved west in search of a better life. Choosing to settle in Illinois in 1868, he lived and worked as a bartender at the hotel operated by Joseph Pabst (1830–1913) and Johanna (Henneman) Pabst (1831–1886) in Elgin, Illinois, and it was here that he met his future wife — the Pabst's daughter, Mary (1854–1928), a native of Chicago.They were married in Kane County, Illinois, on November 2, 1869. Their children were: Anna May (1871–1941), Joseph (1873-1930), Clarence Charles (1882–1903), <mask> (1877-1906), Clara (born in 1880-1902), and Viola (1886-1949). During the mid-1870s he embarked on a career as a fireman. After joining the Excelsior Hose Company on July 7, 1875, he then joined his city's fire department two years later on April 28. The next year (1878), he was appointed as the city's second assistant fire marshall. Appointed as the city's first assistant fire marshall in 1879, he served in that capacity until being awarded the post of city fire marshall in Elgin on May 14, 1889, a position he continued to hold for the remainder of his life. Friends and family referred to <mask> by his nickname, "Andy".A member of Elgin's First Congregational Church, he was also active with his local chapter of the Grand Army of the Republic, serving as Officer of the Day for post number 49 from 1885-1886 and in 1889. Illness, death and interment
Sometime during his early to mid-40s, <mask> developed Bright's Disease, a chronic inflammation of the kidneys. He died at his home in Elgin on June 7, 1890, at the age of 45 from complications related to that disease. Following funeral services at the First Congregational Church in Elgin, the hearse carrying his remains was escorted to his gravesite by comrades from his G.A.R. post, members of the fire department and other city officials. He was then buried in Elgin's Bluff City Cemetery. Medal of Honor citation
<mask> was awarded the U.S. Medal of Honor for his actions during the Third Battle of Petersburg, Virginia, on April 2, 1865.Award Issue Date: May 12, 1865. Citation:

The President of the United States of America, in the name of Congress, takes pleasure in presenting the Medal of Honor to Corporal <mask><mask>, United States Army, for extraordinary heroism on April 2, 1865, while serving with Company I, 12th West Virginia Infantry, in action at Petersburg, Virginia, for conspicuous gallantry as Color Bearer in the assault on Fort Gregg. When interviewed in January 1890 about his being given the Medal of Honor, <mask> described how the award presentation and subsequent events unfolded in May 1865:

The first I knew that I had done anything out of the ordinary line was, one morning while we were in camp at Richmond, after coming from the scene of Lee's surrender, the orderly sergeant stopped at my tent and asked if I wanted to go home. I told him that we would all go so soon that I had better wait for the regiment.... [T]here was an intense satisfaction in being inside the city which had so long resisted our efforts. Instead of being content with my answer, the sergeant told me to fix up and report to regimental headquarters. I had but little choice as to the clothes I should wear, and at best looked more like a tramp than a respectable soldier. We had not drawn any garments for three months, and I was ragged, dirty, and with shoes that would have disgraced an ash barrel.The orders had to be obeyed, however, regardless of personal appearance, and on reporting I found a lieutenant and one private waiting for me. We three were then told to go to brigade headquarters, where were two men from the 23rd Illinois and one from the 116th Ohio. From here we were sent to the corps commander, and he in turn ordered us to the landing, where about forty had gathered, none of whom knew any more about their reason for being there than I did. A steamer was tied up to the bank.... We lounged around a long while ... and finally the order came for us to go on board as guard to the boxes. The steamer was bound for Washington, and on arriving there we were to escort the freight to the White House. Even then none of our party realized what it was that we were to take such wonderful care of, and not until the cases had been opened in our presence before all the cabinet members did we learn that they contained General Lee's battle flags.... [W]e were placed in front of a camera, and then Secretary of War Stanton gave us the freedom of the city, two months' pay, a furlough of thirty days, together with free transportation to our homes and back.... I enjoyed every one of the thirty days, and went back to the front believing that I had been amply awarded for all that had been done in the assault on Fort Gregg, but ... the full payment for that day's work had not been made.We went into camp like schoolboys who had earned an unexpected holiday, and without the slightest idea that anything more was to follow ... the whole corps was drawn up in a hollow square [at their camp in Richmond], and the name of each member of the furloughed party was called in turn. As we stepped forward, General <mask>'s daughter came up and pinned a Congressional medal of honor on the breast of each one, and for the first time we understood that the country had decorated us with the highest possible gift as a reward for bravery.... It is not necessary to speak of the pride I felt at being singled out from so many brave fellows. If I had earned it unwittingly, it was none the less precious, and I value it more highly than words can tell. See also

List of American Civil War Medal of Honor recipients: A–F
Pennsylvania in the American Civil War

References

External links

1845 births
1890 deaths
Union Army soldiers
United States Army Medal of Honor recipients
People of Pennsylvania in the American Civil War
People from Northampton, Pennsylvania
American Civil War recipients of the Medal of Honor

masks:
Andrew O
. Apple
Andrew O
. Apple
Matilda Apple
Andrew
Andrew Apple
Oliver
Apple
Apple
Apple
Apple
Ord
Apple
Apple
Apple
Apple
Apple
George Oliver
Apple
Apple
Apple
Andrew O
. Apple
Apple
Ord


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<mask>á () (14 January 1927 – 27 September 2017) was a Czech harpsichordist. An interpreter of classical and baroque music, Růžičková was the first harpsichordist to record Johann Sebastian Bach's complete works for keyboard, in recordings made in the 1960s and 1970s for Erato Records. As a teenager, Růžičková was imprisoned in the Nazi concentration camps of Terezin and Auschwitz and transported to the Bergen-Belsen death camp. After the camp's liberation in April 1945, she returned to Plzeň later that year. Růžičková was the wife of Czech composer Viktor Kalabis. The couple both refused to join the Czechoslovak Communist Party which held power from 1948–89, and faced political persecution as a result. Růžičková performed across the world for 50 years, recorded over 100 records, and taught such prominent musicians as Christopher Hogwood, Ketil Haugsand, Jaroslav Tůma, and Mahan Esfahani.Early years
Růžičková was born in Plzeň in 1927. Her family owned a department store, and her father had spent four years in Chicago in the 1920s, working at the Ginsburg Department store. Although he had experienced success in the United States, her father returned to Czechoslovakia. Růžičková learned English from her father. Růžičková characterized her childhood as "very sweet" and her parents as "very much in love". According to Růžičková, her family was historically Jewish. Her mother was an Orthodox Jew, but her father was an atheist.Růžičková described herself as not particularly religious. Růžičková began taking piano lessons after suffering from pneumonia aged nine, as a reward for her recovery. Her piano teacher, Marie Provazníková, introduced her to the works of Bach and encouraged her to take up the harpsichord. Impressed by Růžičková's talent, Provazníková wrote to French-Polish musician Wanda Landowska, asking her to accept Růžičková as a pupil at her École de Musique Ancienne in the Paris suburb of Saint-Leu-la-Forêt once she had finished her obligatory schooling at 15. In the end, Růžičková was not able to attend due to the Nazi invasion of Czechoslovakia in 1938, and the implementation of the Nuremberg Laws. Nazi occupation of Czechoslovakia and World War II
In 1941, the Gestapo began organizing transports to move Jews from Plzeň to Terezín. The camp's first inmates, known as the Aufbaukommando, were tasked with converting the fortress and surrounding walled town into a concentration camp, known as Theresienstadt.In Plzeň, 13-year-old Růžičková was among Jewish children used by the Gestapo to deliver "invitations" to members of the town's Jewish community, informing them of the date they would be deported to the camp, which Růžičková later described as seeing "life at its very worst. It was a nightmare". In January 1942, three weeks after receiving notice from the Gestapo, Růžičková and her family were forcibly relocated from Plzen to Theresienstadt by train. Upon arrival, Růžičková met Fredy Hirsch, a 25-year-old German Jew, who assumed the responsibility of caring for the camp's children by arranging activities and exercise for them, and reserving two barracks for what were called Children's Homes. Internment in Theresienstadt
Theresienstadt was originally designated by the Nazis as a "model community" for educated, middle-class Jews from Germany, Czechoslovakia, and Austria. Růžičková, along with other children at the camp, did agricultural work, applying manure to fields and working in vegetable gardens, and was therefore able to sneak food from the gardens to her family. Although forced to work during the day, Růžičková was able to continue her education at Theresienstadt, and could attend concerts and lectures staged by the residents after work.She was able to see opera singer Karel Berman perform, take Latin lessons from a former university professor and harmony lessons from pianist Gideon Klein, and join a children's choir. Růžičková's father and grandfather died in the camp. Her father died in Spring 1943, but Růžičková was able to remain with her mother. In December 1943, the two were sent to Auschwitz after nearly two years in the camp. She was given the option to remain in Theresienstadt, but chose to go with her mother. Before her transport to Auschwitz, Růžičková transcribed a Bach piece onto paper to bring with her to the camp. Internment in Auschwitz
After three days on the transport, Růžičková and her mother arrived in Auschwitz by night, and those on the transport were immediately placed in barracks, many suffering from hunger and dehydration.The next day, she and the other prisoners were taken to another barracks, stripped, and tattooed. They were then forced to sign a document stating that they had been arrested in Theresienstadt for anti-German activities, and accepted their sentence. Soon after her arrival, Růžičková was reunited with Hirsch, who advised her to lie about her age and say she was sixteen, rather than fifteen. Růžičková later credited Hirsch with her survival, as if she had not lied about her age it is likely that she would have been gassed. Hirsch was organising the children's barracks as he had in Theresienstadt, and Růžičková began working there as a teaching assistant, which kept her from more dangerous jobs and protected her from the many diseases spreading through the camp. In this role, she was exposed to the extreme reality of Nazi racial theory; German doctors, including Fritz Klein, the "Chief Selector" of the camp and colleague of Josef Mengele, whom Růžičková had met in Theresienstadt, visited the children's barracks to take physiological measurements or select children to be removed for experimentation. In May 1944, Růžičková and the other inmates who had traveled with her from Terezin to Auschwitz were scheduled to be gassed.However, their execution was slated for June 6—D-Day. After going through another selection process, Růžičková and her mother were instead sent to Germany. Slave labor in Hamburg
Růžičková was sent to Hamburg, which was being bombed regularly by the British and Americans. Under the auspices of the Neuengamme concentration camp, laborers were assigned to work in sub-camps in the area around Hamburg. Růžičková was put to work protecting and repairing an oil pipeline and maintaining gas tanks, which were subject to daily bombardment. She was able to remain with her mother, but suffered greatly from hunger and dangerous working conditions. However, she was able to earn some extra food from other prisoners by singing for them.In addition to working on the oil pipeline, she worked in the shipyards of Hamburg. In January 1945, Růžičková was moved to the Tiefstack sub-camp, where she worked in a cement factory. As Allied forces advanced, the prisoners were made to dig booby-traps for tanks. Internment in Bergen-Belsen
At the end of February, Růžičková and the other laborers were transported to Bergen-Belsen concentration camp. She later commented that "if ever there was Hell, this was the lowest part of Hell. This was an extermination camp—it was really meant for us to die in." At this point, Bergen-Belsen was disorganized, overcrowded, and stricken with disease.When her mother fell ill, Růžičková was forced to sneak out of the camp to gather turnips in order to survive. In April 1945 Růžičková and the other prisoners who could still walk were ordered to march from the camp to a railway station two miles away. They returned to the camp and woke the next morning to discover the Germans had gone. The guards had abandoned the camp, leaving no food, and had disconnected the water supply. A few German and Hungarian troops remained outside the camp, randomly shooting into the barracks on occasion. On 15 April 1945 British and Canadian soldiers arrived at Bergen-Belsen. Liberation and aftermath of WWII
Růžičková, along with many prisoners suffering from starvation, became seriously ill after eating the food rations provided by soldiers.At the time of liberation, she weighed only 70 pounds. She was taken to a hospital and treated for ulcers, typhus, malnutrition, and eventually diagnosed with malaria. Since she spoke English and several other languages, Růžičková worked as a translator for the medical staff as she recovered. Although Růžičková's mother remained seriously ill, they were able to return to Czechoslovakia in July 1945, where they found their family home occupied and possessions stolen. One of the first people Růžičková met upon her return to Plzeň was her former piano teacher, Marie Provazníková. Růžičková later said that when Provazníková saw the conditions of her hands after four years in concentration camps, she wept. The four years Růžičková had spent in concentration camps had not only hurt her physically and psychologically, but also caused a significant delay in her progress as a musician.To be accepted into a music school, Růžičková had to pass a series of examinations. She started in classes with children to regain her fundamental skills, and managed to advance every few months, from a third grade level to the required eight grade level. Růžičková began studying piano again with Bohdan Gsölhofer in Plzeň. Post-war career
In 1947, Růžičková was accepted into the Academy of Performing Arts in Prague where her professors included pianists Albín Šíma, František Rauch and harpsichordist Oldřich Kredba. Despite her rapid improvement, one of her professors discouraged her from being a professional musician, but she continued her studies, specializing in the


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 harpsichord and early music. She completed a BA and went on to complete an MA. After the 1948 coup by the Communist Party of Czechoslovakia (KSČ), Růžičková was pressured to join the Communist Youth Movement, but refused.As a student in Prague, Růžičková was called in front of a committee when she was discovered reading the works of Sigmund Freud, whose literature had been banned. In 1950, Růžičková secured a position at the Academy, teaching composers to play the piano. One of her students was her future husband, Czech composer Viktor Kalabis. She gave her first harpsichord recital in 1951. As a faculty member at the Academy of Performing Arts, Růžičková was subject to performance reviews that evaluated her both professionally and politically. As a Jew, Růžičková was still vulnerable to persecution under the Communist government. In the context of high-profile anti-Semitic political events such as the Slánský show trials of 1952, Růžičková tried to persuade Viktor Kalabis not to marry her, but they married in December 1952.In 1956 Růžičková won the ARD International Music Competition in Munich, and was offered a scholarship from jury member Marguerite Roesgen-Champion to continue her harpsichord studies in Paris. Kalabis was also invited to study in Paris, but the couple was not allowed to travel abroad together in case they defected. Kalabis went to Paris, but Růžičková remained in Czechoslovakia. Although she was unable to study in Paris, her win at the International Music Competition led to further invitations to perform across Europe. Since she was highly paid for these performances, the government allowed her to travel, but confiscated much of the foreign currency that she earned. She performed at Bach festivals in various European cities, including Leipzig, Stuttgart, Heidelberg, Ansbach, Frankfurt, Schaffhausen, and Bath. Although her success made her valuable to the state, as a non-party member Růžičková remained under suspicion from the Communist government, and was not allowed to teach music to Czech students.Furthermore, her participation in the Czech Philharmonic was restricted due to her Jewish heritage. The pressures on Růžičková were eased slightly following the death of Joseph Stalin and the relaxation of his policies. She was able to travel more freely, and occasionally with her husband. However, Růžičková did not try to defect, as she and Kalabis still had family members living in Czechoslovakia. For the first time, Růžičková was able to record music for international distribution, increasing her fame and strengthening her association with the music of Bach. This coincided with the revival of baroque music in Western Europe. In 1962, she co-founded the Prague Chamber Soloists with conductor Václav Neumann, and in 1963 she formed a successful duo with violinist Josef Suk.Other chamber music partners included János Starker, Pierre Fournier, Jean-Pierre Rampal, Aurèle Nicolet and Maxence Larrieu. She also worked with conductors including Serge Baudo, Paul Sacher, Herbert Blomstedt, Libor Pešek, Neville Marriner and Helmuth Rilling. Her recorded repertoire is extensive, including works from the English virginalists through to modern composers such as Bohuslav Martinů, Francis Poulenc, Manuel de Falla and Frank Martin. The music of Bach, however, always remained central to her career, and in 1965 Růžičková was contracted by the French label Erato Records to record the complete keyboard works of Bach. She completed the task in 1975, becoming the first person to record them in their entirety. Following the Prague Spring of 1968, the Czech government was under pressure to appear stable and progressive. Růžičková was given several state-sponsored rewards, which served as propaganda for the regime.Růžičková was unable to refuse these rewards and was often forced to accept them with great ceremony. She was a soloist with the Czech Philharmonic from 1979–90. After the Velvet Revolution
Following the Velvet Revolution of 17 November 1989, Růžičková participated in the protests against the government, going on strike from the Academy of Music and the Czech Philharmonic. When the Communist regime was overthrown in December, Růžičková received the title of "Professor", which she had not been granted despite teaching at the Academy since 1951, and was able to serve as a committee member for music competitions. She also established a harpsichord class at the Music Academy in Bratislava, where she had been guest professor from 1978–82. For twenty-five years she gave master classes in Zürich, as well as other classes in Stuttgart, Kraków, Budapest, Riga, and Tokyo. She stopped performing publicly in 2004 after Kalabis fell ill.Following Kalabis' death in 2006, Růžičková became more involved in various musical organizations and committees dedicated to the interpretation and preservation of early music, and to the discovery of young musicians. She was the president of the Viktor Kalabis & Zuzana Růžičková Fund, vice-president of the Prague Spring International Music Festival Committee, and a member of the advisory boards of the Czech Chamber Music Society and the Concertino Praga International Competition. She was a supporter of the Hans Krása Initiative, dedicated to the life and music of composer and fellow Theresienstadt prisoner Hans Krása, who was murdered in the Holocaust. She was also active in the Terezín Initiative, through which she was able to fund a memorial for Fredy Hirsch. Later years and legacy
Růžičková was married to Viktor Kalabis for 54 years, and inspired him to compose several major works for harpsichord: Six Two-Part Canonic Inventions (1962), Aquarelles (1979), Preludio, Aria e Toccata (1992), and Concerto for Harpsichord and Strings (1975). Contemporary composers have also dedicated works to her, including Jan Rychlík's Hommagi clavicembalistici (1964), and she premiered works by Emil Hlobil, Hans-Georg Görner and Elizabeth Maconchy. Růžičková was also an influential teacher.Among her students were the late British harpsichordist and conductor Christopher Hogwood and the Iranian-American harpsichordist Mahan Esfahani. In 2013 Supraphon released new CDs of Růžičková's work, and British harpsichordist Pamela Nash wrote about her in the June 2013 edition of the British Sounding Board magazine:Acclaimed as 'The first lady of the harpsichord,' and recognized by many as Landowska's successor, her career has left the harpsichord world a legacy, documented by over 100 recordings, spanning half a century... this timely commemoration serves as a timely reminder of Ruzickova's invaluable role in promoting the harpsichord in the 20th century. She made enormous strides to establish the instrument as a solo and ensemble concert instrument, and there can be no doubt that the status of the harpsichord today owes much to her pioneering efforts. Embarking on a career when early harpsichord repertoire was barely acknowledged, or else relegated to the piano, she resolved to re-connect Baroque keyboard music to the instrument for which it was written; in her own words 'to rid the harpsichord of its museum nature and make it a living instrument.'" In October 2016, her entire recordings of all of J.S Bach's keyboard works in remastered form were released by Warner Records/Erato. Supraphon has reissued several CDs of collections of Ruzickova's earlier recordings. Růžičková appeared in a 2017 documentary film about her life and music, Zuzana: Music is Life, directed by Peter Getzels and Harriet Gordon Getzels.Until her death Růžičková resided in Prague. In December 2016, a month before her 90th birthday, she revealed she had been diagnosed with cancer and had undergone chemotherapy. In 2019, her posthumous autobiography, One Hundred Miracles, written with Wendy Holden, was published by Bloomsbury, and translated into ten languages. Partial list of awards and recognitions

Titles
 Artist of Merit, 1968 (CZ)
 Nation Artist, 1989 (CZ)
 Professor of the Academy of Music in Prague, 1990 (CZ)
 Chevalier des Arts et des Lettres, 2004 (Fr)

Medals
 Aachen "Kulturpreis Karl IV" (2011)
 Medal of Merit 2 Grade for Arts and Culture of the President of the Czech Republic (2004)
 Medaille fur Kunst und Wissenschaft der Freusradt Hamburg (1993)
 Medal of Contribution to "Golden Funds if Supraphone" (1997)
 Medal of Harmony Musical Review (2001)
 Prize for Contribution to Czech and World Music (2001)
 Grenade Star of BOHEMIAN HERITAGE FUND, endowment fund (2013)

Prizes
 Grand Prix Cros (J.A. Benda, J.S. Bach)
 Diapason d’Or (Henry Purcell)
 Golden Disc Supraphone (300,000 LPs, CDs, and tapes sold)

Honors
 Hon. Member: Direktorium "Neue Bachgesellschaft" Leipzig
 NEMA (National Early Music Association of Great Britain)
 The Dvorak Society for Czech Music
 Honorary Citizen of the town Jindrichuv Hradec (CZ)
 Honorary Citizen of the township Praha 3

References

External links
 Official site
 Biography (in Czech)
 Czech radio interview
 France honours Czech harpsichordist <mask> Ruzickova

 Viktor Kalabis and Zuzana Růžičková Endowment Fund, Prague
 The Viktor Kalabis and Zuzana Růžičková Foundation, Washington DC

1927 births
2017 deaths
Czech harpsichordists
Czech women musicians
Jewish classical musicians
Czech Jews
Musicians from Plzeň
Auschwitz concentration camp survivors
Bergen-Belsen concentration camp survivors
Theresienstadt Ghetto survivors
Deaths from cancer in the Czech Republic
Erato Records artists
20th-century classical


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<mask>, also often styled simply as <mask>, is an Indian author. He has written The Environmental Crisis of Delhi, The Invasion of Delhi, Portraits of India and a work in Hindi, Dilli par Kabza. He is an internationally acclaimed lyricist – he has been a semi-finalist in the United Kingdom Song Writing Contest for two successive years, 2013 and 2014. He has produced a documentary film entitled The Return of Raja Bhoj – in its Hindi version, Raja Bhoj Ki Wapsi. He has also been a contributor to various academic journals in different countries of the world. <mask> is the Founder and President of the Trumpist Party of India for Equality and Identity. Education
Yadav’s education is spread over several different countries and several notable institutions.He attended Scindia School, an elite boarding school in Gwalior. During 1967–68 he co-boarded with Mukesh Ambani at Siddharth House, a hostel of Scindia School. Later he attended University of Cambridge. Clare Hall, a Cambridge college, elected him a life-member in 1991. He was also a fellow of Queen Elizabeth House, University of Oxford.<ref nam Yadav holds a doctorate in international politics. Background
Yadav belongs to southern Haryana. His grandfather was the nobleman Chaudhri Babu Ram Yadav, titled as Rao Sahib by Lord Willingdon, the Viceroy and Governor-General of India.His late father was one of the first members of the Indian Police Service from Haryana and served in Madhya Pradesh. One of his brothers, Ajay, was in the Indian Administrative Service, and another, Vijay, is in the Madhya Pradesh cadre of the Indian Police Service. Work

Yadav founded the Trumpist Party of India for Equality and Identity on 17 January 2017, at an event widely covered by the international media. The party seeks to build a collaborative partnership of the wealthy, on the one hand, and the excluded castes, on the other, through extensive rewards to both. It has been inspired by the life of Donald Trump. Yadav was a speaker at the Delhi Literature Festival 2017. Yadav's work as an author has been the subject of feature-reports in three principal newspapers of India, i.e.The Times of India, Hindustan Times and The Hindu. The United States' leading daily The Wall Street Journal in its India e-edition, India RealTime, has also commented on him. The ideas developed in Yadav's first book, The Invasion of Delhi, have been the subject of critical press comment. The author argues that the people of the Delhi-Yamuna basin constitute the indigenous people of the union territory of Delhi and their systematic exclusion from the city is fundamentally unfair. A population explosion caused by deliberately induced migration from far away is responsible for the environmental degradation of the entire middle Yamuna basin. It has been the subject of extensive international reporting. An international environment-related database, noting the relevance of the book to contemporary ecological issues, carries a biographical entry of the author of The Invasion of Delhi.The Environmental Crisis of Delhi is Yadav's latest work. In this study the author categorises contemporary Delhi as an imperial city, similar to its Sultanate, Mogul and British predecessors when ethnic oligarchies with no local roots held sway. The singular objective of today's ruling oligarchies is the appropriation of the land of the middle Yamuna and its allocation to their kin from beyond the Delhi basin. This predatory design, argues Yadav, underlies the ecological threat confronting India's capital city. The Indian edition of the Wall Street Journal, one of the leading newspapers in the world, has also done an extensive report on the environment book. Yadav's third work, Portraits of India, is a collection of poems. Extracts from this work received praise from Khushwant <mask>, India's premier writer.Writing in one of his regular weekly columns, <mask> remarked that the couplet of one of the poems "sycophancy is a practice in which, modern-day India is very rich" was an accurate summation of the mental state of Indians and "deserved to be quoted". Khushwant <mask>'s acclamation proved prophetic and Yadav has begun to win international endorsement and recognition. He secured the rank of a semi-finalist in the United Kingdom's Song Writing Contest 2013 for his submission 'Never Love a Woman'.Following this success two of India's premier newspapers, The Hindustan Times and the Hindu, did feature reports on Yadav. His entry for the 2014 contest, 'To None Ever Bound', also secured a semi-finals position. Yadav’s foray into film-making has yielded two documentaries, The Return of Raja Bhoj, and its Hindi version, Raja Bhoj Ki Wapasi. These films develop themes first argued in his writings, i.e. issues of external hegemony and indigenous subjugation.The setting for the films is Bhopal and the context a proposal to rename the city as 'Bhojpal'. The film-maker shows how the wealth of the city, indeed the entire state, is in the hands of people from far away. Therefore, the proposal to rename the city would be merely cosmetic, unless accompanied by steps to give the local populations a greater share in the wealth of the city and the state. Both, Yadav's writings and films, are informed by a passionate concern for subject indigenous populations held in bondage by imperial communities of outside provenance. It is wrong to see this interpretation as some sort of diatribe against migrants. Instead, these works should be seen as a depiction of India as a rigidly hierarchical quasi-imperial arrangement where small groups of people from the presidency towns of the Raj-era rule and dominate vast swathes of territory. This is what empires are about; and this is why, he implies, the vast majority of India's population lives in utter destitution.The challenge before India is the transition of this structure to a more democratic system of local control. Essentially, therefore, Yadav's work should be seen as a moving affirmation of the principles of democracy, freedom and liberty. As a researcher <mask> was associated with Queen Elizabeth House, University of Oxford. He wrote largely on South Asia, especially Afghanistan, where he has travelled in difficult and dangerous conditions of war. One of his papers on Afghanistan has become a landmark. Although written nearly 25 years ago, it continues to be cited and commented upon by strategists from Israel, the United Kingdom and USA. He contributed also to major Indian journals, The Illustrated Weekly of India and The Hindu.Additionally he wrote on the Indian Rebellion of 1857 and this work was the subject of a lecture he delivered at University of Oxford’s South Asian Studies Centre at St Antony's College. <mask> has also made other seminar presentations at University of Oxford. One of these was on the anti-Mandal riots of the 1990s and another on inter-ethnic relations and hierarchies in Delhi. The former has been praised and extensively quoted by former Harvard professor, senator and diplomat Daniel Patrick Moynihan. Awards
Semi-Finalist in the UK Song Writing Contest 2013 and 2014
Chevening Scholarship and Smuts stipend, University of Cambridge
Charles Wallace Stipend, University of Oxford

Bibliography
The Environmental Crisis of Delhi
The Invasion of Delhi
Portraits of India
Dilli par Kabza

Documentary films
The Return of Raja Bhoj
Raja Bhoj Ki Wapsi

References

External links

 India's migrants

21st-century Indian poets
Poets from Delhi
Living people
Indian environmental writers
Indian male poets
21st-century Indian male writers
Year of birth missing (living people)
Indian Hindus

masks:
Sanjay Singh Yadav
Sanjay Yadav
Yadav
Singh
Singh
Singh
Yadav
Yadav


text_chunks:
<mask> (born 1963) is an English composer. He is the head of composition at the Royal Academy of Music. Biography
<mask> was born in Manchester in 1963 and studied at Cardiff University and the Guildhall School of Music and Drama with Oliver Knussen and Simon Bainbridge. In 1990 he was the Benjamin Britten fellow at Tanglewood where he studied with Lukas Foss. He was awarded the Britten Prize in 1991, the Mendelssohn Scholarship in 1992 and the PRS Composition Prize in 1994. His fast-paced style of music has been described as "an uncompromising reflection of the modern world". <mask> has collaborated and worked with many leading musicians, ensembles and orchestras.Performances include the St. Paul Chamber Orchestra, London Symphony Orchestra, BBC National Orchestra of Wales, BBC Symphony Orchestra, Britten Sinfonia, Royal Northern Sinfonia, Riga Sinfonietta, Ensemble Profil (Romania), Arctic Philharmonic, the Esprit Orchestra (Toronto), Birmingham Contemporary Music Group, London Sinfonietta, Ergon Ensemble (Athens), Festival de Mùsica de Alicante, Bergen Festival, Aspen Music Festival, Ojai Festival (California), Musikmonat (Basle), Moscow Autumn Festival, Aldeburgh Festival, Spitalfields Festival, Huddersfield Contemporary Music Festival and the BBC Proms as well as recent performances in Germany, France, Austria, Hungary, Holland, Norway, Spain, Denmark, Sweden, Italy, Australia, New Zealand and China. In 2008 the London Sinfonietta commissioned <mask> to write The Opening of the House for their inaugural concert at Kings Place and later in the same year his first opera, The Cumnor Affair was premiered by Tête à Tête Opera Company at the Riverside Studios, London. Recent commissions include Firewheel for Dark Inventions, Strix for the Britten Sinfonia Academy, the world's turning for the Esprit Orchestra (Toronto),  Nocturnes and Dances for the Wye Valley Chamber Music Festival, The Language of Birds for Tabea Debus and Scenes from the Life of Viscount Medardo for Richard Watkins and the Red Note Ensemble. In 2017 his String Quartet No.2 was premiered in the St Magnus International Festival by the Gildas Quartet and Psappha gave the premiere of Leonora Pictures in Manchester followed by three further performances in New York, Oberlin and Aspen. His second piano concerto, The Book of Ingenious Devices, premiered by Huw Watkins and the BBC Symphony Orchestra conducted by Oliver Knussen in the 2018 Aldeburgh Festival was described in The Times as '"mesmerising music". In the 2019 Beijing Modern Music Festival the Guiyang Symphony Orchestra gave the premiere of his most recent orchestral work, Fanfaronades. Cashian has also written extensively for young and amateur musicians: to date he has written six pieces for the ABRSM’s Spectrum series as well as large scale works for Contemporary Music for All and the Centre for Young Musicians.Between 2010 and 2013 he was invited by the British Council to curate a series of concerts of contemporary British music in Bucharest during the course of which works by over sixty living British composers were performed. He is also a sought after teacher and has been Head of Composition at the Royal Academy of Music since 2007. He is published by Wise Music and Composers Edition. Recordings of his music are available on the NMC label including the two portrait discs The House of Night and Dark Inventions. He is published by Wise Music and Composers Edition. Recordings of his music are available on the NMC label including the two portrait discs The House of Night and Dark Inventions.

masks:
Philip Cashian
Philip Cashian
Cashian
Cashian


text_chunks:
<mask> (; born 1968) is a Hong Kong-based visual artist and landscape architect. <mask> graduated with a BA degree in Fine Arts from the Chinese University of Hong Kong in 1992 and an MA in Landscape Architecture from the University of Hong Kong. <mask> was born in Hong Kong. She was one of the founding members of Para Site, a Hong Kong gallery and organisation dedicated to contemporary art forms which opened in 1996. She is part of the Fotanian artists studio community at Fo Tan in Hong Kong. Her work brings together the fields of architecture and art, addressing the ways people move through spaces by creating large sculptural forms. <mask> works alone and collaboratively with artists including as <mask>o Warren on socially engaged art projects such as City Cookie (1999-2003)

<mask>'s exhibitions include: Shanghai Biennale (2000),  50th Venice Biennale (2001), Gwangju (2002).Public collections
Kardist Art Foundation
Hong Kong Heritage Museum, Hong Kong, China

Awards
Artist Grant of the Centre de Reflexion sur l'Image et ses Contextes, Switzerland (2000);
Most Promising Artist of the Philippe Charriol Foundation, Hong Kong (1994);
Ramon Woon Art Creative Prize, The Chinese University of Hong Kong (1992). Artist-in-residence
PS1 Contemporary Art Center, New York (1999),
The Bronx Museum of the Arts (2000), New York;
Ecole Cantonale d'Art du Valais (ECAV), Sierre, Switzerland (2000)
the Nordisk Kunstnarsenter Dalssesen, Norway (2002). ", Art Gallery, First Institute of Art and Design, Hong Kong, China (1994)
"Material → Material, Art Gallery, Design First Institute of Art and Design, Hong Kong, China (1993)
The Exhibition of Finalists' Works in the Modern Art Competition, Philippe Charriol Foundation, Ocean Terminal and Hong Kong Visual Art Centre, Hong Kong, China (1993)
"Infinity", Dept. of Fine Arts Gallery, University of Hong Kong, Hong Kong, China (1993)
"Manulife Young Artists Series '92", Pao's Gallery, Hong Kong Art Centre, Hong Kong, China (1992)
"SHUN SHI DONG XI", Pao's Gallery, Hong Kong Art Centre, Hong Kong, China (1992)
"The Juiner Exhibition", Andison Gallery, Virginia Commonwealth University, Virginia, USA (1991)

Documentation of her works can be found in the Hong Kong Art Archive

References

1968 births
Living people
20th-century women artists
21st-century women artists
Alumni of the Chinese University of Hong Kong
Alumni of the University of Hong Kong
Hong Kong artists
Hong Kong women artists
Landscape artists

masks:
Wong Chi Hang Sara
Wong
Wong
Wong
Leung Chi W
Wong


text_chunks:
<mask> (28 November 1912 – 24 October 2001), recognised as the last Spanish Surrealist, was an artist, professor, musician and writer. As a political activist in the early 20th century, <mask> was characterised by his outspoken support of Democratic Socialism and opposition to Totalitarianism. <mask> joined the Trotskyists during his military service and eventually became a prominent member of POUM (Partido Obrero de Unificación Marxista / Worker's Party of Marxist Unification) in 1935. Following the Civil War, <mask> fled to France where he was interned in concentration camps however after having escaped, <mask> then sought exile in the Americas. As a Surrealist Artist, <mask>'s work is principally characterised by its bright and vivid colours that explore nature and the indigenous symbolism of the Americas. His most famous works include Autorretrato (1944), Elegía por Andrés Nin (1991) as well as Crónica de los fiscales de los años horrendos (1986). <mask>'s work has been incorporated into exhibitions in the Maeght Gallery, the Bodley Gallery, The Museum of Modern Art as well as The Museum of Contemporary Art alongside other Surrealists such as André Breton and Marcel Duchamp.<mask> also dedicated himself as a poet, essayist and novelist, publishing 15 books in all. Some his first, and most prominent works, include 'El hombre Verde' (The Green Man, 1944) and 'Lo que sucedió' (What Occurred), a book he illustrated and designed himself which won Mexico's Don Quijote novel prize in 1969. From the mid-1960s until retirement, he was professor of Spanish literature at Brooklyn College. The Eugenio Granell Foundation was inaugurated in 1995 to conserve the life and work of the artist with an expansive collection of his oils, drawings, constructions, collages and archives. The museum also dedicates itself to the preservation of other Surrealists such as Joan Miró, Wifredo Lam, José Caballero, William Copley, Esteban Francés, Marcel Duchamp and Pablo Picasso. Early life

Born in Galicia, in the city of A Coruña, <mask> <mask> started out as a musician and political radical. In his youth he and his brother Mario, as well as other friends, set up the magazine SIR (Sociedad Infantil Revolucionaria).In 1928, <mask> enrolled at the Escuela Superior de Música del Real Conservatorio in Madrid. Among his friends were Maruja Mallo, Joaquín Torres García, Alberto Sánchez Wifredo Lam and Ricardo Baroja and as a member of the POUM during the Civil War, <mask> contributed actively to newspapers such as La Nueva Era, La Batalla and El Combatiente Rojo. In 1939, he went into exile and after arriving in France, he was held in internment camps for several months, but was eventually able to escape to Paris. While in the French capital, he continued the friendships with Benjamin Péret and Wifredo Lam which had started in Madrid prior to the civil war. <mask>'s affiliation with Trotsky made him the enemy of Fascists and Stalinists and steered him towards a life marked by exile and escape. As María Zambrano stated regarding Spain in the early twentieth century, the country was a "master of dispersal and wastefulness" as it forced many of its most outstanding artists and intellectuals into a painful flight to other countries. <mask> was one of those exiles, residing in France, the Dominican Republic, Puerto Rico, Guatemala and New York City.In the Dominican Republic, he was in the company of other Spanish exiles, including artists José Vela Zanetti and Josep Gausachs and writers like Vlady Serge, Segundo Derrano Poncela, Vicente Llorens. <mask> began his life as a painter in the Dominican Republic. He also continued to play the violin at the National Symphony which he had helped create with the musician Enrique Chapí, another refugee from Spain. When André Breton arrived in the island for a short visit, he liked <mask>'s paintings and encouraged him to continue. Breton also admired the magazine which <mask>, Alberto Baeza Flores (a politician from Chile) and several Dominican writers had created: "La Poesía Sorprendida". <mask> left an important legacy in the arts in this Caribbean island. The Dominican Republic
When <mask> arrived in the Dominican Republic in 1940, he had not yet discovered his talent for painting.Initially he worked as a violinist with the National Symphony Orchestra, which he helped organize with the musician Casal Chapí and as a journalist for the newspaper La Nación. In 1941 he began painting, participating in an exhibit entitled Private Exhibit of Modern Spanish Painters in 1942. <mask> had his first solo exhibition in 1943, exhibiting 44 Surrealist paintings, this was the first exhibition of Surrealist works held in the country. He had another solo exhibition in 1945 featuring 200 of his works and in 1946 he exhibited in Puerto Rico and Guatemala. Later that same year, he left the Dominican Republic due to problems that arose when he refused to sign a document supporting the dictator Trujillo. <mask>, along with Dominican poets and Chilean diplomat Alberto Baeza Flores, formed an avant-garde magazine and literary movement, La Poesía Sorpendida. Guatemala and Puerto Rico
In 1946, <mask> left the Dominican Republic for Mexico where he was going to work with his party comrade Costa Amic.But landing in Guatemala, <mask> and his wife Amparo liked Guatemala City and decided to stay. Once there, he became an art professor, contributed to magazines and had a radio show in which he talked about art and artists, among other subjects. He also continued his painting and writing. His stay in Guatemala was cut short when the revolution began and he was seen as an anti communist. Jaime Benítez, the Rector of the University of Puerto Rico, had met <mask> when he had shown his art on the island a few years earlier and invited him and his family to move to Puerto Rico and become an art professor at the University. His stay on the island was very productive. He ignited interest in contemporary art in his students and many continued to paint and at some point had created a group called "El Mirador Azul".Some of these students included: Juan Maisonet, Rafael Ferrer, Frances del valle, Rosado, Cosette Zeno, and the poet "El Boquio". As he did in the Dominican Republic, <mask> left a school of art on the island. New York
In 1952, <mask> traveled to New York with his friend José Vela Zanetti, a fellow Spanish exile whom he met in the Dominican Republic. Once there, through Vela Zanetti, he met and developed a strong friendship with Marcel Duchamp. In 1957, after a sabbatical, <mask> and his family moved to New York and lived mainly on the Upper West Side of Manhattan, New York, until 1985 when the <mask> family returned to Spain. It was here that <mask> held several exhibits at the Bodley Gallery; some were solo shows, others were group shows with surrealists like Magritte, Max Ernst, and Duchamp. He studied sociology at the New School for Social Research and earned his PhD with the publication of a very personal study of Picasso's Guernica: "Picasso's Guernica.The End of a Spanish Era" (UMI Research Press, 1967 and 1981). <mask> was Professor Emeritus of Spanish Literature at City University of New York (CUNY). Return to Spain
In 1985, <mask> returned to Spain, where he was awarded numerous prizes and acknowledgements such as the 'Gold Medal of Fine Arts', awarded by the Council of Ministers as well as the 'Pablo Iglesias Award for the Arts' in 1995. The Eugenio Granell Foundation was created in 1995 in his home town Santiago de Compostela, Spain. The only museum in the world entirely devoted to surrealism which holds some 600 of his paintings along with works by Picabia, Duchamp, Man Ray, Joan Miró, Esteban Francés, Philip West among many others. <mask> also published several books in Spain, including "La novela del Indio Tupinamba", a surrealist, personal and unique vision of the Spanish Civil War. It has since been translated into English and published by City Lights.Another important publication is "Isla cofre mítico", dedicated to André Breton and his wife Elise whom he had met in the Dominican Republic in 1941, a truly lasting friendship. The Eugenio Granell Foundation was created in Santiago de Compostela in 1995. Situated in Plaza del Toral in the historic centre, <mask> donated many of his own works (oils, drawings, constructions, found objects), as well as his collection of works by other surrealist artists. His Library and archives are also found in the Foundation. <mask> died in Madrid in 2001. An important part of his personal archive is located in the Pavelló de la República CRAI Library - University of Barcelona and consists of press clippings about Spanish Civil War, Exile, Francoism, POUM, and cultural activities. But most of his archives can be found at the Eugenio Granell Foundation.<mask>'s Work

Although springing from the depths of his subconscious like that of all the surrealists, <mask>'s work is influenced by the places where he lived, particularly the exuberance of the Caribbean and the blend of Spanish and native cultures. Surrealism recognises no social function of art other than that of liberating the individual and society from the repression of reason, allowing the creator to express his instincts and dreams. In 1959, André Breton organized an exhibit called The Homage to Surrealism Exhibition to celebrate the Fortieth Anniversary of Surrealism which exhibited works by Salvador Dalí, Joan Miró, Enrique Tábara and <mask> <mask>. There is absolutely no censorship in <mask>'s work. Poetry blossoms, shrouding unrecognisable figures where trees, animals and people merge into hybrid beings that undergo constant metamorphosis. Works where the strong colours are framed in sculptural compositions, in human figures on the verge of formal delirium, or in voluptuous compositions that appear to be a microscopic dimension of an unknown world. Playfulness, advocated by the surrealists as an expression of freedom, pervades the whole of this artist's work.<mask>'s dialogue and writing have always ironically mocked solemnity and reason itself. Such are his painting, his sculpture and his readymades: an extremely beautiful elegy to freedom and the purity of feelings. The major books on <mask> and his work, such as monographs and catalogues, are mostly in Spanish or Galician, but they are widely available in libraries throughout the world, including the United States. All of the catalogues of <mask>'s exhibits published by the Fundación Granell, are also written in English. <mask> also published a book of meditations and critical reflections on Picasso's Guernica, and this book is available in English as well as in Spanish and Galician (see "References" section). Works by <mask> are on display in major museums, including the Museum of Modern Art in New York and the Reina Sofía Museum in Madrid. Bibliography

English-translated works

Picasso's Guernica: the end of a Spanish era (Ann Arbor, MI: UMI Research Press.1981)
 <mask> <mask>; Benjamin Péret, The Novel of the Tupinamba Indian (San Francisco, CA: City Lights Publishers. 2017) (translated by David Coulter)
 <mask>

masks:
Eugenio Fernández Granell
Granell
Eugenio
Granell
Eugenio
Eugenio
Granell
Granell
Eugenio
Fernández Granell
Granell
Eugenio
Granell
Granell
Granell
Granell
Granell
Granell
Granell
Granell
Granell
Granell
Eugenio
Granell
Granell
Granell
Granell
Granell
Granell
Granell
Granell
Granell
Granell
Granell
Granell
Granell
Eugenio
Granell
Granell
Granell
Granell
Granell
Granell
Granell
Eugenio
Fernández Granell
Eugenio


text_chunks:
 <mask>; César Antonio Molina, Eugenio <mask> (Publisher: A Coruña: Diputación Provincial de A Coruña, 1994)
 <mask> <mask>, Picasso's Guernica: the end of a Spanish era (Ann Arbor, Mich. : UMI Research Press, 1981)

Published books

<mask> <mask>; "El Hombre Verde, 1944. <mask> <mask> <mask>; "Isla, cofre mítico", Editorila Caribe, Puerto Rico, 1951
<mask> <mask>; "La Novela  del Indio Tupinaba", Costa-Amic, México, 1959. <mask> <mask>; "El Clavo", La Novela Popular, 1967,
<mask> <mask>; "Picasso's Guernica. The End of a Spanish Era", UMI Research Press, 1967, 1981
<mask> <mask>; "Lo que sucedió....", España Errante, México, 1968
<mask> <mask>; "Federica no era tonta y otros Cuentos", Costa-Amic editor, México 1970. <mask> <mask>; "La Leyenda de Lorca y otros Escritos", 1973. <mask> <mask>, edición de; "Asi que pasen cico años.Amor de D. Perlimplin con Belisa en su Jardin", Taurus, 1976, 1981. <mask> <mask>; "Estela de Presagios",Poemas; Ilustraciones: LUdwig Zeller, Oasis ed., Canada, 1981. <mask> Fernández Granel, Juan Manuel Bonet, Emmanuel Guigon, Fernando Castro, Jean Marcel, Edouard Jaguer, Jean Schuster, Martica Sawin, Susanne Klengel, Lourdes Andrade, André Coyné, Marceline Pleynet, Belinda Rathbone, José Pierre; El Surrealismo entre viejo y nuevo mundo, 1989. <mask> Ferenández <mask>, "Federica no era tonta", Colección Algorán, 1993
<mask> <mask>, "Ile, coffre mythique", Les Iles Fortunées,1993. Translated by Paul Aubert. <mask> <mask>, "La chambre noire", Les Iles Fortunées, 1994
<mask> <mask>, Juan Ramón Jiménez, Fernando Castro Flórez; "Isla Cofre Mítico",1996. <mask> <mask>, "A l'aéroport", Les Iles Fortunées, 1996.<mask> Fdernández <mask>, "Ensayos, encuentros e invenciones", Edición y Prólogo de CA Molina, La Rama Dorada, Huerga & Fierro, 1998. <mask> <mask>, "El aire fresco de <mask> F<mask>", Introducciónde Isabel Castells, Fundación Eugenio Granell, 2000. <mask> <mask>,"Breves encentros con Granell", Renfe,2000. <mask> <mask>; "El Guernica de Picasso. El final de una era española",Fundación Picasso, Málaga, 2002
<mask> <mask>, Carlos Arias, "<mask> Granell", Xunta sde Galicia, 2005. Biografía en gallego. <mask> <mask>, "Memorias de Compsotela.Visión orlada por estrellas, islas, árboles y antorchas",Fundaciónn Eugenio Granell, 2006. <mask> <mask>; "Historias de un cuadro", Fundación Eugenio Granell,  2007. <mask> <mask>, "<mask> <mask>, MIlitante del POUM", Fundación Eugenio Granell, 2007-2008. W. Solano, Pelai Pagès i Blanch, E. CastroMD Genovés, P. Erdociain, D. Pereira. Textos en gallego e inglés. <mask> <mask>; "Congreso interdisciplinar Eugenio Granell", "Actas", Fundaciòn Eugenio Grannell con más apoyos, 2007. <mask> <mask>; "Lo que sucedió...", Introducción: Arturo Casas, Fundación Eugenio Granell, 2007.<mask> <mask>, "Lembranzas e Reflexións de <mask> <mask>", Unha crónica audiovisual de Xan Leira; fotografías de J.L. Abalo, Memoria Viva, 2007. <mask> Fdernández <mask>; "El rito mecánico del pájaro Pí", Fundación Eugenio Granell, 2008
<mask> <mask>; "Correspondencia con sus cxamaradas del P.O.U.M. (¡939-1999), Fundación Graell, Santiago, 2009
<mask> Fernáandez <mask>; "Escritos políticos (1932-1990)", Introducción:Pello Erdoziain (Fundación A. Nin), Fundación Granell, 2009
<mask> <mask>; "Correspondencia con Rubia Barcia. Alams gemelas (1940-1993), Fundación Granell, 2011. <mask> <mask>; "2012. Centenario <mask> <mask>", "Nuevas perspectivas de la obra de Granell y de Amparo", "Espacios Expositivos", "Textor personales", "Traducciones", Fundación Eugenio Granell, con muchos apoyos, 2012.<mask> <mask>, "Federica no era tonta", Prólogo: Claudio Rodríguez Fer, AUGA editora,2012. <mask> <mask>; "Arte y artistas en Guatemala", Olllero y Ramos, Madrid, 2012
<mask> <mask>; "The Novel of the Tupinamba Indian",City Lights Books, 2018. Translation: David Coulter
<mask> <mask>;"Coincidencias. Poesía completa¨, Edición y Prólogo: Oscar Ayala, Huerga & Fierro, Madrid

<mask> <mask>, Carlos Arias,<mask> <mask>. Un hereje contemporáneo", Fundación Eugenio Granell, 2017. Diseño y maquetación Teresa Taboada. Biografía en español.Catalogues:
"<mask> Fernández Granell", Galería Nacional de Bellas artes, Ciudad Trujillo, 1943. "Pinturas de Eugenio F. Granell", Sala de Exposiciones de la Universidad", Puerto Rico, 1946. "Granell", 52 óleos, La Universidad Popular, Oficina de Turismo de Guatemala, 1947. "Granell. Pinturas", Escuela de Artes Plkásticas, Guatemala, 1949. S. Arbós Ballesté, "<mask> Granell. Un surrealista español en Nueva York", Atenbeo de Madrid, Sala de Santa Catalina, 1974."<mask> Granell. Un surrealista español en Nueva York", Dintel, Galería de Arte, 1975. VVAA, "E. <mask>", Galería Valle Ortí, Valwencia, 1975
"<mask> <mask>", Galwería Altex, Madrid, 1976. "¡a Exposicao "Phases" em Portugal", Junta de Turismo da Costa Do Sol, Novembro, 1977. "<mask> Granell", Galería de Arte Moderno, Santo Domingo, R.D., SEptiembre, 1981. Texto Santiago Arbós Ballestéç
Carlos E. Pinto, "<mask> F. <mask>", Sala de Arte y Cultura, Caja de Ahorros, Canarias, 1984. Carlos Areán, "<mask> F. <mask>", Museo Municipal de Bellaas Artes de Santander, Julio 1986
J.M.Bonet, E<mask>, "<mask> F. Granell. Exposición antolófica",Caja de Ahorros Municipal de Vigo, 1987
A.M. Campoy, "<mask> F. Granell. Pinturas, 1980-1988", Galería Heller, 1988. JM Bonet, A. Breton, B. Péret, M. Duchamp, "E. Granell", Fundación Cultural Mapfre Vida, Madrid, 1989. J.M. Bonet.E. Guigon, "<mask> F. <mask>.Islas y Brasas", Museo de Teruel,1990. B. Péret, H.T. Flemming, "<mask> F<mask>", Galwería Thomas Levy, Hamburg, 1990. E. Jaguer, J. Pierre, HT Flemming, R. Santos Torroella, CA Molina, JM Bonet, "<mask> Granell. Exposición antológica. 1940-1990", Comunidad de Madrid, 1990-1991. L. Ishi-Kawa, "<mask> <mask>l", Arte y Tecnología, 1992-1993
 F. Castro Flórez, "<mask> F. <mask>, Encantador de serpientes", Antiguo Convento de las Carmelitas, Cuenca, 1993.JM Bonet, F. Castro Flórz, J?Navarro de Zuvillaga, P. Jiménez, J. Armida Sotillo, E<mask>, "<mask> <mask>", Auditorio de Galicia, Santiago de Compostela, 1993. CA Molina, R. Santos Torroella, JM Bonet, F. Castro Flórez,E. Jaguer, JH. Matthews, M. Cesariny, HT Flemmimng, P. Jiménez, S., Sanz Villanueva, J. Navarro de Zuvillaga, A. Ramoneda, J. Ruiz, A. Santamarina, T. Marco, J. Maestro, P. López-Barxas, "Eugenio Granell", #3, Colección Grandes Pintores, Ed. de César Antonio Molina, Diputación ProvinciaL De a Coruña, 1994. Mracos-Ricardo Barnatán, "Encuentros del espírit, La Kábala, Madrid, 1994.J.Ruiz Sierra, J.Pierre, L.Mombiedro,JM Paarreño,"Colecciòn Eugenio Granell", Consorcio de Santiago. 1995. Primeros fondos de la Fundación Eugenio Granell. Emmanuel Guigon, "<mask> Granell. Inventario del planeta", Fundación Eugenio Granell, 1995; Ayuntamiento de Pamplona, 1996
E. Aguirre, R. Pérez Estrada, J. Vela Zanetti, J.I. Serra, J.A. Santos Pastrana, A. Rodríguez Abad, A.Alonso Ares, "A Eugenio Granell", Fundación Vela Zanetti, León, 1996.Varios Autores, "Granell en Puerto Rico (1950-1957)", Fondos de la Fundación,1997
J. Navarro de Zuvillaga, "<mask> Granell y el teatro", Fundación Eugenio Granell, 1997
"<mask> Granell", Galería Prsenca, 1997. Gonzalo Armero,<mask> Granell", Huerta de San Vicente, Granada, 1999-2000
X. Antón Castro, "<mask> Granell. Xeografía dun surrealista", Sala de Gagos de Mendoza, Pontevedra, 1999
José Medina,"Juego de sugerencisa, Granell y laa arquitectura", Fundación Eugenio Granell, 1999
Javier Herrera, "<mask> Granell. El elixir del alquimista", Fundación Eugenio Granell, 2000
A. Garrido Moreno, "Coleccionistas. E. Granell en las colecciones gallegas", Fundación E. Granell, 2001
Francesc Miralles,Antología. Eugenio Granell. pintura, escultura, objects, Fundación Caixaterrassa, 2001
M. Patinha, "É na linha do Horizonte que está o Infinito.<mask> Granell. Cruzweiro Seixas", Galería Sacramento, Aveiro, Portugal, 2001. Antón Castro, B. Pinto de Almeida, V. Oisteanu, R. Tío Bellido, "Granell El arte de la conversación", Inastituto Cervantes, varios países y
ciudades, 2002-2003
Mercedes Rozas, X.L. Axeitos, X. Estévz, E. Ruibal, "Imágenes de la memoria", Fundación E. Granell, 2002
J. Herrera, "Los paisajes mágicos de Granell", Fundación Picasso, Málaga, 2002
"Exposición-Homenaxe, <mask> F. Gramnell, 1912-2001. O compromiso Social e Politico dun Surreaalista", Salas Castelao e Anxel Casal, Galería Sargadelos, 2002. J.M. Naharro-Calderón, E<mask>, L. Klich, "1912 Eugenio Granell 2001", Galería Guillermo de Osmna, Madrid, Barcelona, Badajoz, 2003.J. Ruiz, "<mask> Granell. El antropólogode su memoria", Sala de Cultura Castillo de Maya, Fundación Caja Navarra, 2003. A. Pagán, "Imaxes do soño en liberdade. O cinema de Eugenio Granell", Xunta de Galicia, 2003. Exposición en la sede de la Fundación E. Granell. J. Ruiz, H.T. Fleming, Pablo Jiménez, "Oleos, construcciones y objetos", Fundación E. Granell, 2003.Fomdos de la fundación. Bonet, Juan Manuel, "<mask> <mask>", Comisario: Aurelo Torrente Larrosa. Arte español para el extranjero, Ministerio de Asuntos Exteriores, Madrid, 2003. L. García de Carpi, "La imagen de la mujer en la obra de <mask> <mask>", Fundación E. Granell, 2004; Caja Segovia, 2005;Fundación Rafael
Boti, Córdoba, 2005. "Retrato de una amistad: Granell y Vela Zanetti", Fundación Eugenio Granell, 2005
P.E. Cuadrado, A. Goncalves, R. Padin Otero, N. Fernández Segarra, "Cartografía surrealista. Território <mask> <mask>", Fundación Cupertino de Miranda, Famalicao, Portugal, 2006.M.A. Ramos, J-F, Alvarez Prieto, Javier Ruiz, F. Castro Flórez, E. Guigon, "Dibujos y collages de <mask> <mask>", Fundación E. Granell, 2007. Fondos de la Fundación. J. Herrera, "Eclosión Mágica, 1956-1967", Feima, Fundación de Arte Galwfgo, Madrid, 2007. E.Castro, "El pájaro Pí y la lengua de los pájaro, Fundación E. Granell, 2008
"E. Granell", Sala Dalmau, Barcelona, 2011
J.M. Bonet, N. Fernández Segarra, "La Biblioteca de Eugenio Granell", Fundación E. Granell, 2012
E. Valiña, A. Pagán, A. Pinent, ""Eugenio Granell e o cine. Unha película de vinte minutos", CGAC, Xunta de Galicia, 2012
L.Rodríguez Rodríguez, "Azares de Granell en zinc y papel", Fundación E. Granell, 2013; catálogo/cuaderno
Javier del Campo, El surrealismo como arte.Granell. Ell surrealismo como vida", Caja de Burgos, 2015
Javier Arnaldo; "<mask> <mask> y Esteban Vicente, Construcciones y Toys", Museo Esteban Vicente y Fundación Granell, 2017 y 2018

References

External links
Obituary of <mask> <mask> in Britain's The Guardian newspaper (November 10, 2001)
Guiarte.com information on Granell
Centro Virtual Cervantes: Granell - El arte de la conversación
 Inventari del Fons FP, Subsèrie Eugenio F. <mask>, del CRAI Biblioteca del Pavelló de la República de la Universitat de Barcelona
Check the link: www.eugeniogranell.org/

Modern painters
20th-century Spanish painters
20th-century male artists
Spanish male painters
Spanish Trotskyists
Spanish surrealist artists
1912 births
2001 deaths
Spanish expatriates in the Dominican Republic
Spanish expatriates in the United States
City University of New York faculty
Spanish expatriates in Guatemala
People from A Coruña
Brooklyn College

masks:
Fernández Granell
Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Fernández GranellEugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Eugenio
Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Granell
Eugenio
Fernández Granell
Eugenio
. Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Granell
Eugenio
Granell
Eugenio
Fernández Granell
Eugenio
Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Fernández Granell
Eugenio
Granell
Eugenio
Eugenio
Eugenio
Granell
Eugenio
Granell
Eugenio
Eugenio
Granell
Eugenio
Granell
. Granell
Eugenio
Eugenio
Eugenio
Granell
Eugenio
. Granell
Eugenio
Eugenio
Granell
Eugenio
Granell
. Granell
Eugenio
Granell
Eugenio
Eugenio
Eugenio
Eugenio
Eugenio
Eugenio
Eugenio
Eugenio
. Granell
Eugenio
Eugenio
Fernández Granell
Eugenio
Granell
Eugenio
Granell
Eugenio
Granell
Eugenio
Granell
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Granell
Granell


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<mask> (born 12 November 1998) is a Swedish professional ice hockey player for the Vancouver Canucks of the National Hockey League (NHL). <mask> was selected fifth overall by the Canucks in the 2017 NHL Entry Draft. Nicknamed "Petey" by Canucks fans, he was born in Sundsvall, Sweden, but grew up in Ånge, Sweden. After one of the greatest U20 seasons in SHL history in 2017–18 and winning the Le Mat Trophy with the Växjö Lakers, <mask> made the Canucks opening night roster for the 2018–19 season. He won the Calder Memorial Trophy as the league's best rookie in 2019, becoming the second Canuck to do so after Pavel Bure in 1992. Playing career

Sweden
<mask> played hockey as a youth and made his professional debut with Timrå IK of the HockeyAllsvenskan. In his second season in Allsvenskan in 2016–17, <mask> placed second on the team in scoring with 41 points in 43 games.Unable to help Timrå IK gain promotion, <mask> signed a three-year contract with the Växjö Lakers of the top tier SHL, on 6 April 2017. <mask> was ranked second among European skaters by the NHL Central Scouting Bureau in his first year of eligibility for the 2017 NHL Entry Draft. He was selected as the first Swedish player taken in the draft, fifth overall, by the Vancouver Canucks, joining former linemate and Canucks prospect Jonathan Dahlén on 23 June 2017. It was speculated the Canucks drafted <mask> based partly on highly successful chemistry with Dahlén on the top line for Timrå IK, where they finished fifth and ninth in league scoring as teenagers. The two scored on the first shift they ever played together in Sweden. While still a junior player, <mask> dominated the Swedish Hockey League in his 2017–18 rookie season. In 44 games played, he led the league in both points scored and in +/- at the end of the regular season, with 56 points (1.27 average) and +27 respectively.He also scored 24 goals, second in the league behind Frölunda's Victor Olofsson. In the penultimate game of the 2017–18 season, <mask> recorded four points to reach 55 points for the season. In the season finale, <mask> scored a goal to set a new record 56 for most points by a junior in a single SHL/Elitserien season, previously held by Kent Nilsson (set in 1975–76). <mask> went on to lead the playoffs in both goal-scoring, points, and +/-, with 10 goals, 19 points (1.46 average) and +17 respectively, in 13 games played. Scoring four game-winning goals, he led Växjö Lakers to the team's second Le Mat Trophy. Counting both the regular season and the playoffs, <mask> scored 34 goals and 41 assists, for a total of 75 points in 57 games played (1.32 average). In April 2018, <mask> was awarded the Stefan Liv Memorial Trophy, as the SHL playoffs' MVP, by SICO (Sweden's Ice hockey players Central Organisation).All 14 jury members voted unanimously for <mask>, a first in the award's nine year history. At the SHL Awards, <mask> was named Rookie of the Year, and Forward of the Year. Vancouver Canucks
On 25 May 2018, the Canucks signed <mask> to a three-year entry-level contract. On 3 October 2018, <mask> made his NHL debut against the Calgary Flames. <mask> scored his first career goal against goaltender Mike Smith, and also recorded an assist in a 5–2 Canucks win. On 13 October 2018, during a game against the Florida Panthers, <mask> suffered a head injury on a hit from Panthers defenceman Mike Matheson resulting in <mask> leaving the game. Although Matheson was not penalized for the hit, the NHL Department of Player Safety believed that Matheson had an intent to injure, resulting in him being suspended two games and fined $52,419.36.<mask> returned to the lineup on 27 October after missing six games; the Canucks lost 5–0 to the Pittsburgh Penguins. Two nights later, <mask> scored two goals in a 5–2 win over the Minnesota Wild. On 1 November, <mask> was named the October Rookie of the Month, and four days later was the Second Star of the Week. In December, he was named First Star of the Week on 10 December and after recording 17 points in 14 games during the month, he was again named Rookie of the Month. On 2 December 2019, <mask> would win the hardest shot competition at the Canucks Skills Competition with a 99.4 mph slap shot. On 2 January 2019, <mask> was named to his first NHL All-Star Game as the Canucks' lone representative. He notched his first NHL hat trick later that night in a 4–3 win over the Ottawa Senators, striking in the second and third periods before scoring the game-winning goal in overtime.<mask> suffered a knee injury a night later when fellow rookie Jesperi Kotkaniemi appeared to hook him away from the play. Petterson went down clutching his right knee and play had to be halted by the referees but he was able to skate off under his own power. In his first game back from injury on 21 January 2019, <mask> scored a goal and recorded an assist in a 3–2 win against the Detroit Red Wings. On 18 March, <mask> earned an assist in a 3–2 overtime victory over the Chicago Blackhawks for his 61st point, surpassing the Canucks franchise record for points by a rookie which was previously held by Pavel Bure and Ivan Hlinka. In his rookie season, <mask> totaled 28 goals and 38 assists, giving him 66 points in 71 games. After the season, <mask> was named as a finalist for the Calder Memorial Trophy, an award he ultimately won at the 2019 NHL Awards in Las Vegas on 19 June 2019, becoming the second Canuck to do so after Pavel Bure. Early in the 2019–20 season, <mask> and Brock Boeser formed instant chemistry with off-season acquisition J. T. Miller.On 4 November 2019, <mask> was named First Star of the Week after totaling 9 points over four games. On 30 December 2019, <mask> was named to his second consecutive NHL All-Star Game to be played in a month, and was later joined by teammates Jacob Markstrom and Quinn Hughes. Notably, at the Hardest Shot Competition, despite <mask> being the only forward and only player under 200 lbs in the contest, he'd achieve a 102.4 mph slap shot, the 2nd highest mark by a forward in the competition's history up until that point. On 12 March 2020, the <mask>'s season was cut short by the NHL's season suspension, meaning he was unable to surpass the 66 point mark of his rookie season, which he had matched in fewer games that season. When the season resumed on 1 August 2020, <mask> would put up 7 goals and 11 assists for 18 points in 17 games as the Canucks would dispatch the Minnesota Wild and St. Louis Blues in 4 and 6 games, respectively, the team's first playoff series wins since 2011. They would make it as far as game 7 of the second round against the Pacific Division leading Vegas Golden Knights before bowing out. <mask>'s 18 points in his first playoffs were tied for the team-lead and the eighth highest scoring playoffs in Canucks playoff history.<mask> began the shortened 2020–21 season with the worst start of his career, posting just one goal and one assist in his first eight games, as the Canucks struggled out of the gate. However, <mask> would find his game from then on, recording 19 points in his next 18 games, including five multi-point efforts. Unfortunately, <mask> would sustain a serious upper-body injury on 2 March that sidelined him for the rest of the regular season. On 1 October 2021, <mask> signed a three-year, $22.05 million contract with the Canucks. International play

<mask> competed for Sweden in the 2018 World Junior Ice Hockey Championships, winning silver. Despite being limited to just 5 games, due to a broken thumb, <mask> would go on to win a gold medal with Team Sweden at the 2018 IIHF World Championship. On 9 May 2019, <mask> was included to the roster to return for a second successive tournament with Sweden at the 2019 World Championships held in Bratislava, Slovakia.Personal life
<mask>'s older brother, Emil, is currently playing for the Spartak Moscow of the KHL. both brothers have played for Timrå IK and the Växjö Lakers, with both having won SHL titles with Växjo; <mask> in 2018, and Emil in 2021. Growing up, his father was the Zamboni driver at the local rink, and because of this, <mask> received much extra practice time. <mask> played soccer in the summer as a child in Sweden, and still is a fan of the sport. <mask> is of Finnish descent through his paternal grandfather, born Toivo Jokelainen, who was sent to Sweden in 1941 as a Finnish war child. On December 13, 2011, <mask> would hear that two of his best friends, Valerik and Davit Danielyan were deported from Sweden to Armenia. Along with some friends, a 13 year old <mask> would be interviewed by a local newspaper and appear on television in support of the Danielyan family.With the support of the people of Ånge, his best friends would be permitted to return in March 2012 following 81 days in Armenia. On 7 August 2019, <mask> was named the cover athlete for the Swedish edition of EA Sports' ice hockey video game NHL 20. Career statistics

Regular season and playoffs

International

Awards and honours

References

External links

1998 births
Living people
Calder Trophy winners
Expatriate ice hockey players in Canada
National Hockey League first round draft picks
People from Krokom Municipality
People from Sundsvall
Swedish expatriate sportspeople in Canada
Swedish ice hockey forwards
Swedish people of Finnish descent
Timrå IK players
Vancouver Canucks draft picks
Vancouver Canucks players
Växjö Lakers players

masks:
Elias Fredrik Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Elias
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson
Pettersson


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<mask> (born <mask>, 11 September 1934) is an English bishop and theologian of the Eastern Orthodox Church. Since 1982, he has held the titular bishopric of Diokleia in Phrygia (), later made a titular metropolitan bishopric in 2007, under the Ecumenical Patriarchate of Constantinople. He is one of the best-known contemporary Eastern Orthodox hierarchs and theologians. From 1966 to 2001, he was Spalding Lecturer of Eastern Orthodox Studies at the University of Oxford. Early life and ordination
Born <mask> in 1934 to an Anglican family in Bath, Somerset, England, he was educated at Westminster School in London (to which he had won a King's Scholarship) and Magdalen College, Oxford, where he took a double first in classics as well as reading theology. On 14 April 1958, at the age of 24, he embraced the Orthodox Christian faith. He describes his first contacts with Orthodoxy and the growing attraction of the Orthodox Church in an autobiographical text entitled "My Journey to the Orthodox Church".While still a layman, he spent six months in Canada at a monastery of the Russian Orthodox Church Abroad. Thoroughly conversant in modern Greek, <mask> became an Orthodox monk at the Monastery of Saint John the Theologian in Patmos, Greece. He also frequented other major centres of Orthodoxy such as Jerusalem and Mount Athos. In 1966 he was ordained to the priesthood within the Ecumenical Patriarchate and was tonsured as a monk, receiving the name "Kállistos". Professional and ecclesiastical life
In 1966, <mask> became Spalding Lecturer at the University of Oxford in Eastern Orthodox studies, a position he held for 35 years until his retirement. In 1970, he was appointed to a fellowship at Pembroke College, Oxford. In 1982 he was consecrated to the episcopate as an auxiliary bishop with the title Bishop of Diokleia (in Phrygia) in the Archdiocese of Thyateira and Great Britain of the Ecumenical Patriarchate.Following his consecration, <mask> continued to teach at the University of Oxford and served in the Greek Orthodox parish in Oxford. On 30 March 2007, the Holy Synod of the Ecumenical Patriarchate elevated the Diocese of Diokleia in Phrygia to a titular metropolitan diocese and <mask> to the rank of metropolitan. Since his retirement in 2001, <mask> has continued to publish and to give lectures on Orthodox Christianity. He served as chairman of the board of directors of the Institute for Orthodox Christian Studies in Cambridge, and is chairman of the Friends of Orthodoxy on Iona (Scotland) and of the Friends of Mount Athos. Honours

In 2017, <mask> was awarded the Lambeth Cross for Ecumenism by the Archbishop of Canterbury "for his outstanding contribution to Anglican-Orthodox theological dialogue". Publications

<mask> is a prolific author and lecturer. He has authored or edited over a dozen books, numerous articles in a wide range of periodicals, essays in books on many subjects, as well as providing prefaces, forwards or introductions to many other books.He is perhaps best known as the author of the book The Orthodox Church, published when he was a layman in 1963 and subsequently revised several times. In 1979 he produced a companion volume, The Orthodox Way. He has collaborated in the translation and publication of major Orthodox ascetic and liturgical texts. Together with G. E. H. Palmer and Philip Sherrard, he translated the Philokalia (four volumes of five published ); and with Mother Mary he produced the Lenten Triodion and Festal Menaion. St Vladimir's Seminary Press published a Festschrift in his honour in 2003: Abba, The Tradition of Orthodoxy in the West, Festschrift for Bishop <mask> (Ware) of Diokleia, eds. John Behr, Andrew Louth, Dimitri Conomos (New York: SVS Press, 2003). Books

The Orthodox Church (1st ed.Pelican, 1963; 2nd ed. Penguin, 1993 ); 3rd. ed., Penguin, 2015 ). Eustratios Argenti: A Study of the Greek Church under Turkish Rule (Clarendon, 1964, ASIN B0006BMI94; reprint with a new Introction, Wipf and Stock, 2013 )). The Festal Menaion (translated with Mother Mary) (Faber & Faber, 1977 )). (Editor with Colin Davey), Anglican–Orthodox Dialogue: The Moscow Statement Agreed by the Anglican–Orthodox Joint Doctrinal Commission 1976 (London: SPCK, 1977 )). The Lenten Triodion (translated with Mother Mary) (Faber and Faber 1978; St. Tikhon's Seminary Press, 2002 ).The Philokalia: The Complete Text (translated with G. E. H.  Palmer and Philip Sherrard. London: Faber and Faber. Vol. 1, 1979 ; Vol. 2, 1982 ; Vol. 3, 1986 ; Vol. 4, 1999 .The Orthodox Way (Mowbray, 1979 ).Communion and Intercommunion: A Study of Communion and Intercommunion Based on the Theology and Practice of the Orthodox Church (Light & Life, 1980; rev.ed.2002 ).The Power of the Name - The Jesus Prayer in Orthodox Spirituality (SLG Press, 1982 ). Praying with Orthodox Tradition (Abingdon, 1990 ).How Are We Saved? : The Understanding of Salvation in the Orthodox Tradition (Light & Life, 1996 ).The Ordination of Women in the Orthodox Church (with Elisabeth Behr-Sigel)(Geneva: WCC Publications, 2000 ). The Inner Kingdom: Collected Works, Vol. 1 (St Vladimir's Seminary Press, 2000 ). Orthodox Theology in the Twenty-First Century (Geneva: World Council of Churches, 2012 ). Selected articles

 "Review of Panagiotis N. Trembelas, Dogmatique de l’Église orthodoxe,” Eastern Churches Review 3, 4 (1971), 477–480."God Hidden and Revealed: The Apophatic Way and the Essence-Energies Distinction", Eastern Churches Review 7 (1975). "The Debate about Palamism", Eastern Churches Review 9 (1977). "Wolves and Monks: Life on the Holy Mountain Today", Sobornost 5, 2 (1983). "Athos after Ten Years: The Good News and the Bad", Sobornost 15, 1 (1993). "Through Creation to the Creator", Third Marco Pallis Memorial Lecture, Ecotheology, 2 (London: Friends of the centre, 1996) <www.incommunion.org/2004/12/11/through-creation-to-the-creator> (12.03.2011). "Dare We Hope for the Salvation of All?” Theology Digest, 45.4 (1998). Reprinted in The Inner Kingdom (Crestwood, NY: St. Vladimir's Seminary Press, 2001)."Man, Woman and the Priesthood of Christ", in Thomas Hopko, ed., Women and the Priesthood (Crestwood, NY: St Vladimir's Seminary Press, revised edition, 1999). "God Immanent yet Transcendent: The Divine Energies according to Saint Gregory Palamas" in Philip Clayton and Arthur Peacocke, eds., In Whom We Live and Move and Have Our Being: Panentheistic Reflections on God's Presence in a Scientific World (Grand Rapids, MI: Eerdmans, 2004) (). "Sobornost and Eucharistic Ecclesiology: Aleksei Khomiakov and His Successors", International Journal for the Study of the Christian Church 11, 2-3 (2011). "Orthodox Theology Today: Trends and Tasks", International Journal for the Study of the Christian Church 12, 2 (2012).

masks:
Kallistos Ware
Timothy Richard Ware
Timothy Richard Ware
Ware
Ware
Ware
Ware
Ware
Ware
Ware
Kallistos


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<mask>, son of <mask> (fl. c. 1020 – after 1056) was a medieval English priest and relic collector, active in Northumberland. He is now best known for allegedly stealing the remains of Bede and bringing them in secret to the shrine of St Cuthbert in Durham, although some modern scholars consider this unlikely. He is also documented as having translated the remains of Boisil of Melrose Abbey, as well as numerous northern English minor saints of the 7th and 8th centuries: the anchorites Balther and Bilfrid; Acca, Alchmund and Eata, bishops of Hexham; Oswin, king of Deira; and the abbesses Ebba and Æthelgitha. He served as the sacristan at Cuthbert's shrine under three bishops, and was renowned for his devotion to the saint. Biography

Cuthbert's shrine and the Durham Ecclesia Major
<mask> served as sacristan at the shrine of St Cuthbert in Durham during the time of the bishops Edmund, Æthelric and Æthelwine, in the early–mid 11th century. The miraculously incorrupt remains of the saint, who died in 687, were then housed in a large stone church or cathedral referred to as the Ecclesia Major, dedicated in 998 and demolished to make way for the existing Norman cathedral in around 1093.The early chronicler of Durham's history Symeon of Durham praises <mask> as a pious man and an ideal custodian to Cuthbert's relics, and the later chronicler Reginald of Durham describes him as being "of decent life". His descendant Ailred of Rievaulx describes him as an "active teacher". The modern theologian and historian Benedicta Ward, in her biography of Bede, describes <mask> as a stern teacher to the cathedral's young novices, and states that he was recorded as being respected by the "honest and God-fearing". The modern historian John Crook writes that <mask> was "highly respected" by all three of the Durham bishops. W. M. Aird, on the other hand, describes him as the leader of a group that expelled Bishop Æthelric in around 1045; the bishop was subsequently reinstated by Earl Siward and succeeded by his brother Æthelwine. For part or all of his time as sacristan, <mask> is reported to have had the sole responsibility for tending to Cuthbert's remains, and several stories have accumulated about his exceptional devotion to Cuthbert. According to Symeon and Reginald, <mask> removed one of Cuthbert's hairs, and found that it miraculously failed to burn.Reginald adds that he frequently opened the coffin to wrap the saint's body in robes, and to trim his fingernails and cut or comb his hair and beard. An ivory liturgical or ordinary comb was among the treasures found in Cuthbert's shrine in 1827. Reginald claims that the two exchanged "familiar speech" at times, stating that Cuthbert gave <mask> detailed instructions on what to do with the various saints' relics he collected. He also recounts a story about a weasel that reared her litter in the reliquary. Modern historians consider Reginald's uncorroborated material to be of dubious historical value. Calvin B. Kendall has suggested that the story of <mask> tending to the body's hair and nails might have originated in a similar account relating to the Norwegian king and saint Olaf, whose body was said to be tended by his son after his death in 1030; according to Kendall, this story would have been known to Turgot of Durham – the prior of the Durham monastery who oversaw the translation of Cuthbert's remains into the new cathedral in 1104 – as he had previously stayed at the Norwegian court. Ward notes its similarity to stories associated with English saints, including Osmund of Salisbury.Hexham and personal life
In addition to his sacristan duties, <mask> also held the church of Hexham, Northumberland, from Bishop Edmund, where his family were hereditary priests. As he lived in Durham, his Hexham duties were delegated first to Gamel the Elder (Gamel Hamel) and then to Gamel iunge. <mask> was married, his wife being the sister of Collan, prior of Hexham. His date of death is unknown, but he is recorded to be still alive at the time of Bishop Æthelwine (1056–71); Crook speculates that he might have died just before the Norman Conquest. <mask>'s son Eilaf Larwa and his grandson, also named Eilaf, each succeeded him as the priest at Hexham. A grandson Aldred or Aluredus is also recorded as a shrine keeper. The saint Ailred, Cistercian abbot of Rievaulx, was <mask>'s great-grandson.Relic collector

<mask> was an assiduous collector of relics of saints for Cuthbert's shrine at Durham as well as the church at Hexham. The medieval specialist Bertram Colgrave describes him as "the arch-relic-hunter", exemplifying the "rage for relics" of his time. Symeon explicitly records his having ceremonially moved (translated) the remains of the following saints, after having been informed of their whereabouts by visions:
Boisil (died 661) of Melrose Abbey, mentor to Cuthbert, whose remains were deposited in their own shrine in Durham in around 1020;
Balther (or Baldred; died 756 or 757) of the monastery of Tyningham, named as an anchorite;
Bilfrid (or Billfrith), a Lindisfarne goldsmith and anchorite known for working the ornate case of the Lindisfarne Gospels, now lost;
Acca (died 740) and Alchmund (or Alcmund; died 780 or 781), two of the Hexham bishops, who were reburied in the church at Hexham in around 1040; according to some sources, parts of their relics were also translated to Durham;
Oswin (died 651), the murdered king of Deira, who had a following at Tynemouth;
the abbesses Ebba (or Æbbe; died 683) of Coldingham and Æthelgitha, an otherwise-unknown abbess, possibly also from Coldingham or another Northumberland convent. Hexham bishops: Acca, Alchmund and Eata
A variant version of the story of Alchmund of Hexham's translation is given by an anonymous author, probably from Hexham, in the Historia Regum. The vision of Bishop Alchmund is here given to a person referred to as "Dregmo", who summons <mask> to rebury the remains in Hexham church. <mask> complies, but secretly takes a fingerbone, which he plans to take to the shrine in Durham. On the following day the saint's bier proves immovable from the portico; Dregmo has a second vision exposing the theft, to which <mask> readily admits.After the restoration of the fingerbone, the ceremony proceeds unhindered. This version is repeated by Ailred of Rievaulx. According to the Historia Regum as well as the accounts of Richard of Hexham and Ailred of Rievaulx, when Bishop Acca was reburied in Hexham, several relics were removed undamaged from his grave. These included some of his vestments (chasuble, dalmatic and maniple), his shroud and a silk tunic, as well as a wooden portable altar. The chasuble and portions of his "face-cloth" appear in a list of Durham Cathedral's relics compiled in 1383. The 12th-century Life of St Eata suggests that a third Hexham bishop and saint, Eata (died 686), might also have been translated within the Hexham church by <mask>, although he is not mentioned in either Symeon's list of saints or Ailred's work. Eata also served as Abbot of Melrose Abbey and Bishop of Lindisfarne, and had taught both Cuthbert and Boisil.Theft of Bede

<mask> is also traditionally reported to have stolen the bones of the scholar and saint Bede (died 735) from its shrine in Jarrow, and translated them to Durham in secret. Symeon's detailed account is uncharacteristically circumspect. No vision is mentioned. After establishing that <mask> was in the habit of commemorating Bede's death by visiting the Jarrow monastery, it states that one year he arrived back early, having left his companions behind, and never returned to Jarrow. He is then said to have acted as if he had "secured the object of his desires", saying when asked about the whereabouts of Bede's bones that they were in Cuthbert's shrine, but enjoining his listeners to keep the matter to themselves. When Cuthbert's coffin was opened a few days before its translation to the Norman cathedral, around half a century after <mask>'s death, a little linen bag was discovered, subsequently claimed to contain Bede's bones. The story has some similarities with the 9th-century theft by Ariviscus of the French Sainte Foy's relics from Agen, Aquitaine.The discovery of the bag is also described by an eye-witness to the opening of the coffin in the later "Miracle 18" account. The anonymous author states that Bede's bones were known to have been removed from his original burial place in Jarrow; he names <mask> only indirectly as the person who also translated Boisil's remains. Kendall notes that examinations of Cuthbert's coffin in the 1050s are not recorded to have found a linen bag. He considers the tradition of <mask>'s secret translation of Bede to be "probably apocryphal", inferring that it was invented to provide provenance for the unidentified bones in the linen bag. Some subsequent 20th- and 21st-century scholars have also cast doubts on the story's authenticity. Ward describes it as a "strange story", and draws attention to its close parallels with the medieval "pious theft" literary tradition, a genre that embraces wholly fictional accounts. She notes that the earliest written account of the removal of the bones dates from at least 100 years later, there is no external evidence for <mask>'s action, and the attendant secrecy meant that the translation did not fulfil its purpose.She suggests another possibility: that monks from Jarrow translated the remains in 1083 when the Benedictine priory was founded in Durham. Medieval sources

<mask>'s history is relatively well attested, being documented in manuscripts including:
An Account of the Early Provosts of Hexham (c. 1100);
the Libellus de exordio (1104–15) of Symeon of Durham;
a section of the multiply authored Historia Regum (1113–64), possibly contributed by someone from Hexham;
the anonymous "Miracle 18" narrative in Capitula de Miraculis et Translationibus Sancti Cuthberti (after 1128);
the History of the Church of Hexham (1154–c.1160) by Prior Richard of Hexham;
On the Saints of Hexham (1154–67) by Ailred of Rievaulx;
The Life of St Eata (12th century), an anonymous compilation covering the Hexham saints;
the Libellus de admirandis beati Cuthberti virtutibus quae novellis patratae sunt temporibus (c. 1150–75) of Reginald of Durham. Although few if any of these writers could have been eye-witnesses to his acts, Symeon's narrative is in part based on the testimony of a monk named as Gamel, possibly one of <mask>'s priestly deputies; Richard was acquainted with the second Eilaf, his grandson; and Reginald claims that at least some of his additions were sourced to Ailred and recounted traditions handed down within the family. Kendall considers that the early Hexham accounts are likely to be independent from Symeon's account, unlike Reginald's significantly later narrative. See also
Durham, a poem extolling Durham's relic collection
St Cuthbert's coffin

Notes and references

Citations

Sources

11th-century English clergy
People from Durham, England
People from Hexham
Christian relics
Bede
Collectors

masks: Alfred Westou Alfred Alfred Alfred Alfred Alfred Alfred Alfred Alfred Alfred Alfred Alfred Alfred Alfred Alfred Alfred Alfred Alfred Alfred Alfred Alfred Alfred Alfred Alfred Alfred Alfred