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<mask> (born 16 January 1981) is a Filipino professional footballer who plays as an attacking midfielder. He was last signed by Ceres–Negros of the Philippines Football League. <mask> is also a member of the Philippines national team. He previously played for HFC Haarlem, FC Omniworld, AGOVV Apeldoorn, ADO Den Haag, Global Cebu and Cambuur. Club career

Early years
Born in Amsterdam, Mulders is the youngest son of Dutchman <mask> and Filipina mother Ofelia de la Cruz from Isabela, Ilagan. <mask> started youth football at A.V.V. Zeeburgia at age four until he was scouted by Ajax at age eight and trained at the Ajax Academy until he was 16.HFC Haarlem
Mulders continued on to HFC Haarlem in 1997 where many former Ajax youth players have gone to continue their football pursuits. He made his professional debut in the Eerste Divisie at the age of 19 on 14 October 2000 against BV Veendam. Notably, on 6 August 2003, <mask> netted a goal against the opposition team consisting of Zlatan Ibrahimović and Wamberto during a friendly match against Ajax at the Amsterdam Arena. He won 114 appearances and scored 20 goals for Haarlem as a winger from 2000–2005 and impressed upon head trainer, Roy Wesseling. Cambuur
As a free agent after the 2005 season, Wesseling brought Mulders and co-Haarlem teammate Rick Hooijboer with him to Cambuur. The then 24-year-old <mask> signed a two-year contract with the Frisian club. He would make sixty appearances for the Leeuwarders and score five goals as a forward.Cambuur, bogged by financial problems had failed expectations to climb the Jupiler League rankings in Mulders' second season with the club. As a result, he and six other players' contracts were not renewed. FC Omniworld
Before the 2007–08 season got underway, Mulders had a brief failed pro-adventure in Austria during the summer break before finally signing with FC Omniworld in his backyard of Almere for two seasons. Poised to play his naturally preferred position as an attacking midfielder or as a shadow striker, he scored eleven goals in sixty appearances. In Omniworld, he met and clicked with assistant trainer Peter van Vossen who he would later meet again at AGOVV. AGOVV Apeldoorn
On 3 February 2009, it was announced that <mask> had signed with AGOVV in Apeldoorn for two seasons and began his training in earnest in the summer of that same year with coaches John van den Brom and Peter van Vossen. It was while under the tutelage of Van den Brom that Mulders flourished with the team and in tandem played his best season yet in 2009–10 with the likes of teammates Nacer Chadli, Ramon Leeuwin, Chiró N'Toko, Jeremy Bokila, where AGOVV reached the promotion play-offs.In late April 2011, it was announced that he signed a two-year deal with an option for another year with ADO Den Haag. ADO Den Haag
It was widely reported in August 2010, that <mask>' former coach at AGOVV Apeldoorn, John van den Brom, wanted to bring him to his new club ADO Den Haag, but talks for a transfer fell through. During the end of the winter transfer window, in January 2011 Zwolle was reportedly pursuing Mulders for a last minute mid-season transfer. In late April 2011, it was announced that he signed a two-year deal with an option for another year with ADO Den Haag. Mulders made his UEFA Europa League debut for Den Haag on 4 August 2011,<ref name=MST13>{{cite news|url=http://www.haaglandenvoetbal.nl/?pid=63&news%5Biid%5D=9901|title=<mask>s: "Immers en Bulykin niet vergelijken, het zijn verschillende spelers |language=Dutch |author=Duijzer, Glenn |publisher=Haaglanden Voetbal |date=9 August 2011 |accessdate=29 January 2012}}</ref> appearing as a substitute for Ahmed Ammi in the 32nd minute against Cypriot club Omonia in the third qualifying round. Den Haag won 1–0 but lost 3–1 on aggregate. After 11 seasons in the Eerste Divisie, <mask> made his debut in the Eredivisie on 7 August 2011 against Vitesse.Chiangrai United
In January 2013, it has been reported that Mulders had received an offer from  Chiangrai United in the Thai Premier League, but both parties did not reach a final agreement before the winter transfer window closed. Prior to the end of Mulders' contract with ADO Den Haag, and with the support of former teammate Adnan Barakat from Cambuur, Mulders travelled to Thailand in July 2013 to play a test match for Chiangrai United. Chiangrai's new head coach, however, did not extend him an offer to join the team. Global FC
As a free agent, in July 2013 Mulders lent his services to Global FC ahead their campaign for the Singapore Cup. Cambuur
On 20 January 2014, Mulders signed an amateur deal with Dutch Eredivisie side Cambuur until the end of the 2013–14 season. Ceres Negros and Global Cebu
Mulders moved to Ceres Negros, then playing as Ceres in the United Football League, in 2014 after his second Cambuur stint. He later had a second stint with Global (now Global Cebu) and played for them for the first half of the 2018 Philippines Football League season before  returning to Ceres in July 2018.

International career
Shortly after the announcement of <mask>' transfer to ADO Den Haag, his friends and a cousin set up a Facebook fanpage for him.The page was then forwarded to the Philippine Football Federation and within a week he was invited to come to Manila to join the national team. Mulders cited that based on his football resume, video compilations and the fact that he had signed with ADO that he made the selection. In early June 2011, he arrived in Manila and obtained his Philippine passport. He was named into the final squad for their 2014 FIFA World Cup qualification first round match against Sri Lanka. On 29 June 2011, <mask> made his debut for the Philippines in Colombo, as they drew 1–1 with Sri Lanka. Philippines wins the return match in Manila at 4–0 and advances to the second round qualifiers against Kuwait . He would miss the Kuwait matches due to a leg wound infection incurred from a sliding tackle in Colombo.On 7 October 2011, <mask> would again reprise his role in a friendly match against Singapore with a 2–0 loss for the Philippines. Following a friendly match against Nepal on 11 October 2011, the Philippines won 4–0 where Mulders played an instrumental role providing an assist to Phil Younghusband's goal in the 17th minute. Retirement
On 16 March 2016, Azkals team manager Dan Palami confirmed that <mask> has retired from playing at international level. He has since returned to play again for the Azkals. International goalsScores and results list the Philippines' goal tally first.'' References

External links
<mask>s career stats at Voetbal International

<mask>s profile at UEFA Europa League

1981 births
Living people
Footballers from Amsterdam
Citizens of the Philippines through descent
Dutch people of Filipino descent
Dutch footballers
Filipino footballers
Filipino expatriate footballers
Filipino people of Dutch descent
Philippines international footballers
Association football midfielders
ADO Den Haag players
AFC Ajax players
AGOVV Apeldoorn players
SC Cambuur players
HFC Haarlem players
Almere City FC players
Eredivisie players
Eerste Divisie players
Global Makati F.C. players
Ceres–Negros F.C.players

masks:
Paul de la Cruz Mulders
Mulders
Leo Mulders
Mulders
Mulders
Mulders
Mulders
Mulders
Paul Mulder
Mulders
Mulders
Mulders
Mulders
Mulders
Paul Mulder
Paul Mulder


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<mask> (May 31, 1819 – March 6, 1911) was a British-American medical doctor and chemist. He is best known for establishing the private medical practice that later evolved into the Mayo Clinic. He was a descendant of a famous English chemist, <mask>. His sons, <mask> and <mask>, established a joint medical practice in Rochester in the U.S. state of Minnesota in the 1880s. Early life
<mask> was born in Salford, Lancashire, England, and studied science in Manchester under John Dalton, the chemist and physicist responsible for formulating the modern atomic theory of matter and devising a table of relative atomic weights. <mask> left for the U.S. in 1846. His first work in his new country was as a pharmacist at Bellevue Hospital in New York City, though he soon moved westward.<mask> spent a brief period of time in Buffalo, New York, before settling in Lafayette, Indiana, where he worked as a tailor (one of the vocations he had while in England). He returned to medicine in 1849, assisting in a cholera outbreak and then attending courses at Indiana Medical College in La Porte, Indiana. Although the training there would probably be considered mediocre by modern standards, the school did have a microscope, an uncommon tool at the time. Knowledge of how to use this instrument proved to be useful in <mask>'s future practice. It is a matter of debate whether <mask> actually graduated from the Indiana Medical College. <mask> reportedly stated orally that he graduated from the Indiana Medical College. His graduation date from the Indiana Medical College has been reported as February 14, 1850.However, no documentation of his graduation exists and he is not listed in the Indiana Medical School list of graduates for that year. He then attended and graduated from the University of Missouri on February 28, 1854 with a degree in medicine. Migrating west

In 1851, <mask> married Louise Abigail Wright (December 23, 1825 – July 15, 1915), and two years later, they had their first child, Gertrude. Around this time, <mask> left for a winter to work as an assistant at the University of Missouri's medical department. He returned in 1854, but contracted malaria and decided to leave the Lafayette area, saying, "I'm going to keep on driving until I get well or die." <mask> found his way to Minnesota, which he thought would have a more healthful climate and where he did recover from malaria. He settled in Saint Paul, but returned to Indiana a short time later to bring his family to the Minnesota territory.<mask> then found his way to the present-day area of Duluth where he worked as a census-taker. He brought his family to a village named Cronan's Precinct (near Le Sueur) along the Minnesota River where he became known as the "Little Doctor" because of his  stature. <mask> tried his hand at a number of different activities including farming, operating a ferry service, and serving as a justice of the peace in addition to occasional medical duties. By this time, he had two more daughters in his family, Phoebe and Sarah. After a flood in 1859, the family moved to a home on Main Street in Le Sueur. There, he set up his first official medical practice, but the flow of patients was too meager to support the family. <mask> took to publishing a short-lived newspaper, the Le Sueur Courier, which only lasted about three months.He also spent time working on a steamboat. The family saw its first male addition, <mask> <mask>, in 1861. As the American Civil War began that same year, <mask> attempted to procure a commission as a military surgeon but was rejected. Nonetheless, he found his way into military medicine as the Dakota War of 1862 erupted in southwest Minnesota in late 1862. Organizing a group of people from Le Sueur and St. Peter, <mask> headed out to New Ulm, where some of the worst fighting had occurred. Makeshift hospitals in the city cared for people injured in the conflict, as well as refugees driven from farms in the area. His wife opened her home and a nearby barn to harbor eleven refugee families back in Le Sueur.In hopes of getting a body for dissection, <mask>, among other medical men, attended the hanging of 38 Native Americans in December 1862 for their role in the uprising. <mask> was given the body of Cut Nose whom he dissected in front of medical colleagues. Rochester
On April 24, 1863, Dr <mask> was named examining surgeon for the 1st Minnesota draft board headquartered in Rochester, Minnesota. He left his family for that position and soon found the new city to his liking, so they joined him there in early 1864. A year later, his son Charles Horace <mask> was born. <mask> opened a solo medical practice in Rochester in 1863. He partnered with W. A. Hyde from February to June 1864 before going back to solo practice.In November 1867, <mask> entered into a partnership with pharmacist O. W. Anderson, which lasted until November 1869 when <mask> left heading for Pennsylvania and New York City to study surgical techniques. <mask>'s first foray into politics was in 1872 when he made a speech to expose local corruption, which ended poorly and Dr <mask> left for St Paul. In 1874, <mask> returned to Rochester to rebuild his practice and re-entered local politics. Dr <mask> advocated for a municipal water supply and served on the local Health Board. In the 1880s, Dr <mask> was elected to city mayor, alderman, and was later a member of the school board. As Mayor, he oversaw the planning of the first City Hall. He served in the Minnesota State Senate from 1891 to 1895 and was a Democrat.By now, the number of patients was large enough to support the family with no need for him to assume additional jobs. In the 1890s, Dr <mask> advocated unsuccessfully to create an artificial lake by damming Bear Creek where it enters the Zumbro River. The event that is usually credited with beginning the "Mayo Clinic Story" happened on August 21, 1883, when a tornado devastated Rochester. The most seriously wounded were tended at the German Library in Rommel's Hall with David Berkman as steward. Since many of the patients would need intensive care beyond what was being provided by the patient's relatives and friends, <mask> recruited the local Sisters of Saint Francis of Rochester, Minnesota to be nurses. <mask> <mask> had just completed medical school, and Charles H <mask> was in his final year of school, so both were able to assist their father with care of the cyclone's victims. Mother Alfred Moes of the Sisters of St. Francis was convinced a full-fledged hospital was needed in Rochester and approached Dr W. W<mask> to head it.She offered to raise the funds and supervise the construction of the hospital. Under her direction, St. Marys Hospital was built and opened in 1889. Originally, St Mary's Hospital had 12 beds, the three Mayo doctors as surgeons, and the Sisters of St Francis as staff. Mayo Clinic
In 1892, <mask> <mask> asked Augustus Stinchfield to join his practice as a full partner. Once Stinchfield accepted the offer, W. W<mask> promptly retired at age 73. As the practice grew, Christopher Graham, E. Starr Judd, Henry Stanley Plummer, Melvin Millet, and Donald Balfour were also invited to join it as partners. In 1919, the partners of the private practice created the Mayo Properties Association and established the Mayo Foundation for Medical Education and Research as a not-for-profit entity.In 1910, W. W<mask> became interested in the extraction and distillation of alcohol from animal and vegetable wastes, and one day suffered a serious injury when the extraction mechanism crushed his arm and hand. That injury necessitated an amputation. Complications resulted in his death in March 1911, shortly before <mask>'s 92nd birthday. His wife died in 1915. They are buried next to each other at Oakwood Cemetery in Rochester. The family's home in Le Sueur was added to the National Register of Historic Places in 1969. Carson Nesbit Cosgrove and his family later lived in the home.Cosgrove went on to help create the Minnesota Valley Canning Company, later named Green Giant. W. W. Mayo's home in Rochester was razed to build the original Mayo Clinic building in 1914. W. W<mask> is honored together with Charles Menninger and their sons with a Lesser Feast on the liturgical calendar of The Episcopal Church on March 6. References

Sources

 Clapesattle, Helen. The Doctors Mayo, University of Minnesota Press (1975). Hartzell, Judith. "I Started All This: The Life of Dr. <mask> <mask>", Arvi Books (2004).<mask>, Charles W. "Mayo: The Story of My Family and My Career," Doubleday and Company (1968)
 Eddy-Schultz, Fern. La Porte County Historian, La Porte, Indiana. Mayo Clinic website. http://history.mayoclinic.org/timelines/this-month-in-our-history.php

External links

Mayo Clinic History
W. W. Mayo House
 Findagrave. 1819 births
1911 deaths
English emigrants to the United States
People from Eccles, Greater Manchester
People of Minnesota in the American Civil War
Editors of Minnesota newspapers
University of Missouri faculty
Minnesota Democrats
Minnesota state senators
Minnesota city council members
Mayors of Rochester, Minnesota
School board members in Minnesota
Anglican saints
Mayo Clinic people
Burials in Minnesota
Physicians from Minnesota
19th-century American politicians
British-American culture in Minnesota
American saints

masks:
William Worrall Mayo
John Mayow
William James Mayo
Charles Horace Mayo
William Worrall Mayo
Mayo
Mayo
Mayo
Mayo
William Mayo
Mayo
Mayo
Mayo
Mayo
Mayo
Mayo
William James
Mayo
Mayo
Mayo
Mayo
Mayo
Mayo
Mayo
Mayo
Mayo
Mayo
Mayo
Mayo
Mayo
Mayo
Mayo
Mayo
Mayo
William J
Mayo
Mayo
. Mayo
William Worrall
Mayo
. Mayo
. Mayo
Mayo
. Mayo
William Worrall
Mayo
Mayo


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<mask> is a noise music composer who often incorporates electronic music and musique concrete collage with spoken word and field recordings. Early career
Since the mid-1970s, Greif has composed electronic music, musique concrete and computer-generated music and in 1983 he started the DIY label Swinging Axe Productions (SAP) to release his own work and those of like-minded artists. The various alias names Greif has recorded under include Screaming Dukduks and Shadowbug 4. During the first few years of his career, only a handful of cassette-only releases were available, including those by Sound of Pig, Controlled Bleeding, Merzbow, Illusion of Safety and If, Bwana. In 1988 a long 8 minute track by Greif called The Rift In The Earth was selected to appear on the Tellus Audio Cassette Magazine issue #20 Media Myth, which brought further international attention to his work. Swinging Axe Productions
In 1985 Swinging Axe Productions released on cassette tape a collaboration between <mask> and writer Alva Svoboda titled Easy Green Proof that used Svoboda's disturbing poems in which his readings were manipulated and set against electronic atmospheres. Also released was location recordings from Papua New Guinea which featured not only indigenous music but folk stories, theater and a church meeting in Pidgin English.This was the first of several such releases, the other two being from Amazonia and Thailand. RRR label
The first album done for another label was his Bacteria and Gravity for the RRR label in 1987 on which the second side is one long piece filled with tribal rhythms, other-worldly voices and odd sounds such a bullfrog and car horn. Shortly after this release, <mask> teamed up with Mikail Bohonus of WarWorld to form Static Effect, who performed improvisational music. They toured North America and Canada and released a number of cassettes and vinyl before disbanding in 1990. Staalplaat label
In 1990 Greif had begun work on his most ambitious project to date: a 6-hour musical and textural setting for Lewis Carroll's Alice in Wonderland. The spoken text is often deconstructed into phonemes of pure sound and then returned to recognizable words. This project took 5 years and the CDs were released serially on the Staalplaat label in special packaging.The next CD, The Barnacles Inside, also on the Staalplaat label, was released in 1994. Although most tracks on this CD incorporate manipulated voices, there is no discernible text. About this same time Greif began a project with Dan Burke of Illusion of Safety, which after a year of collaborating by exchanging sequences, sounds, and tapes through the mail resulted in Fragment 56. The intention of this project was to use environmental sounds, voices, and atmospheres to create the feeling of a memory or a dream not wholly remembered. Shortly after this release, a split CD with Greif and Illusion of Safety came out titled In Our Little Bodies. Greif's material here was closer to song structure but that definitely does not mean conventions such as melody, choruses, and harmonies. They are highly claustrophobic and obsessive shorter pieces, some of which again feature the voice of Alva Svoboda, sampled and manipulated.Soleilmoon label
<mask>'s Verdi's Requiem was released on the Soleilmoon label in Nov. 1997. This is an attempt to abstract the events of Verdi's life in terms of music. The events, however, are all imagined by Greif, and actually did not happen. In subsequent years, Greif participated with a group called His Masters Voice (or alternately Stylus) which released a CD on Manifold and are featured on a CD from Freedom in a Vacuum / Swinging Axe called Globus and Decibel. Greif's work also appeared on numerous compilations, notably To Step Outside And Keep Walking which has approximately 20 minutes of exclusive material. Three-CD set
In 1999, Soleilmoon released a 3-CD set wherein Greif collaborated with Robin Storey (of Rapoon/Zoviet France) and Nigel Ayers (of Nocturnal Emissions). This CD explores a very ambient side of their work, but retains a disturbing edge.For one of the 3 CDs, <mask> used Nigel's source material, a second was created by Robin using <mask>'s, and the third had Nigel using Robin's material. Shadowbug 4
<mask> also released a CD on Soleilmoon in 1999 under the name of Shadowbug 4, titled Tiny Voices of Love And Fear. These lean more towards song structure, although the instrumental tracks push the limits of that definition. The only vocals used are extremely chopped up and manipulated electronically. The long out-of-print 5-CD set of Alice in Wonderland was re-issued on Soleilmoon in 2000 with new artwork as well as a set of Alice in Wonderland trading cards that were published in conjunction with the release. War of the World
2001 saw the release of <mask>'s War of the World on Soleilmoon. As a follow-up to his 6-hour electro-psycho adaptation of Alice in Wonderland, Greif returned to putting classic literature through the sonic meat-grinder.This time around, though, the work was far more abstracted, and used the novel as more of a springboard for contemporary ideas relating to war—on a global level, a psychological level, and our own resistance to evolving from organic to digital beings. Even more than the novel itself, Greif incorporated the Orson Welles radio-drama hoax to explore the realm of disinformation and scrambled information, as well as the audience reaction of fear, even to the point of suicide, when faced with the unknown. War of the World is subtitled "an emergency broadcast" as its overall effect was to approximate the feeling of listening to radio transmissions in an emergency situation (inspired during the Northridge earthquake). The feeling is sometimes a jumbled confusion of reports, snippets of speech with interference, electronic noises, and other mysterious bits and pieces. Then, later, to actually meld into the emergency drama itself complete with (non-musical) soundtrack. Second Shadowbug 4 CD
Also in 2001, <mask> released the second Shadowbug 4 CD, titled We Are Beginning Our Descent, and continued his themes of depression and angst by way of dark ambience, slow beats, glitchy electronics and cut-up voices. There are even a few moments here of odd orchestral arrangements amid the pulses and unrecognizable sounds.Feature film
During the years between 2001 and 2006, Greif wrote and directed the feature film The Three Trials with the following description: "Catherine, a nun with a unique form of narcolepsy, attempts to lose herself in the worlds of religion, adolescent fantasy, and finally masochistic devotion to a man. Her husband accommodates her masochism with increasingly extreme and bizarre rituals. With an experimental and ground-breaking format, The Three Trials incorporates surreal narrative, music video, and abstract imagery. The viewer is left to interpret what is real, what is dream, and what is false narrative in this feverish, pitch-black comedy with a smorgasbord of sexual fetishes." The film incorporates his own music along with many of his collaborators and like-minded artists from industrial music such as: Nurse With Wound, SPK, Rapoon, Controlled Bleeding, Lustmord, Illusion of Safety, Muslimgauze, Shadowbug 4, Skin Chamber

Later releases
In 2007 Greif released Narcoleptic Cells on the Thisco label from Portugal. The album is entirely created from spoken word, but is abstracted into sonic atmospheres rather than as a verbal narrative. Also in 2007 a CD in collaboration with Anna Homler, Brad Cooper and Adam Smith (under the name of Drift) was released on his own Swinging Axe label entitled Bypass Through The Sky.The same year, and also on the Swinging Axe label, a third Shadowbug 4 CD was released called A Thousand Hits Later. In 2009, Greif was featured in the documentary film Grindstone Redux discussing the cassette culture underground of the 1980s. Alice In Wonderland was released in its 3rd edition, with different packaging and artwork, in 2010 on the Soleilmoon label.

masks:
Randy Greif
Randy Greif
Greif
Randy Greif
Randy
Randy
Randy Greif
Randy Greif
Randy Greif


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<mask> (born October 19, 1936) is a retired United States Air Force four-star general. He was born in Davenport, Iowa and attended the University of Iowa, as part of the Air Force Reserve Officers' Training Corps program. On June 13, 1958, <mask> was commissioned into the Air Force Reserve. During the Vietnam War, he flew in combat as a Wild Weasel pilot and received the Silver Star. During Operation Desert Shield and Operation Desert Storm, he commanded the American aerial forces, as well as those of the American allies. During the Desert Shield phase of the conflict, <mask> briefly served as Commander-in-Chief — Forward of United States Central Command; while General Norman Schwarzkopf, Jr. was still in the United States. He currently serves on the board of directors for the United States Institute of Peace.Military career
<mask>, an Iowa native, entered the United States Air Force through the Reserve Officer Training Corps program. He was commissioned in the Air Force Reserve on June 13, 1958, just before his graduation from the University of Iowa and was awarded pilot wings in November 1959 and was resworn with a regular Air Force commission in 1962. He has commanded a tactical training wing, a fighter wing, two air divisions and a numbered Air Force. While Commander of 9th Air Force, he also commanded United States Central Command Air Forces, in command of all United States and allied air assets during operations Desert Shield and Desert Storm. <mask> is a command pilot with more than 5,300 flying hours in a variety of fighter aircraft. During the Vietnam War he flew 41 combat missions over North Vietnam in the F-105 during a tour. He later flew more than 70 combat missions as an F-105 Wild Weasel pilot, deliberately drawing anti-aircraft fire to identify and destroy North Vietnamese defenses.After primary flight training at Lackland AFB, jet training at Laredo AFB, gunnery training at Williams AFB, top-off training and F-100D transition training at Nellis AFB, Horner's first operational assignment was in October 1960 with the 48th Fighter Wing at RAF Lakenheath. In 1963, Horner was reassigned to the 4th Tactical Fighter Wing and Seymor Johnson AFB, where he flew the F-105. From April through August 1965, Horner was assigned as an F-105 pilot at Korat AB in Thailand, flying missions over North Vietnam. From August 1965 to 1967, Horner returned to Nellis AFB as an F-105 instructor, becoming involved in a number of projects involving other aircraft and undergoing F-105 Wild Weasel training. In 1967, he returned to Korat AB, flying both Wild Weasel and night radar bombing missions. Horner returned to Nellis AFB in August 1967 where, after initial assignment to the Combat Crew Training Wing, he ended up flying as an instructor at the Fighter Weapons School. In March 1968, he joined the new Fighter Weapons Center at Nellis.From 1970 to 1972 he was assigned as a staff officer to Tactical Air Command (TAC) headquarters at Langley AFB, followed by four months of post-graduate work at the College of William and Mary, where he earned his Master of Business Administration. This was followed by a three-year assignment at The Pentagon and subsequent assignment to the National War College at Seymore Johnson AFB. In January 1977, Horner participated in his first Red Flag exercise. His next assignment was to Luke AFB, as deputy commander of the 58th Fighter Wing. In 1980, he was reassigned to Nellis as wing commander of the 474th Tactical Fighter Wing, which was equipped with F-4Ds but scheduled to transition to F-16As. TAC Commander General Wilbur L. Creech kept moving Horner; who commanded at four different bases, two air divisions, the Air Defense Weapons Center, and finally Ninth Air Force. Horner was Commander in Chief of North American Aerospace Defense Command and the United States Space Command; and Commander of Air Force Space Command, Peterson Air Force Base, Colorado from 1992 to 1994.He was responsible for the aerospace defense of the United States and Canada, and the exploitation and control of space for national purposes through a network of satellites and ground stations around the world. Other work
Horner co-wrote Every Man a Tiger with Tom Clancy. In 2004, Horner served on a Pentagon team that looked into detainee abuse. The United States Air Force awards a General Charles A<mask> "Tiger Award" to one officer and one enlisted individual assigned to the Fourteenth Air Force annually (.pdf). He currently resides in Lake Lorraine, Florida. Horner is on the Honorary Capital Campaign Committee for the National Desert Storm War Memorial Association. They are committed to build The National Desert Storm and Desert Shield Memorial at 23rd Streets and Constitution Avenue, N.W.in Washington, D.C. by 2021. This will be the 30th Anniversary of Operation Desert Storm. Education
1958 Bachelor of Arts degree, University of Iowa, Iowa City
1967 Squadron Officer School, Maxwell AFB, Alabama
1972 Master of Business Administration degree, College of William and Mary, Williamsburg, Virginia
1972 Armed Forces Staff College, Norfolk, Virginia
1974 Industrial College of the Armed Forces, Fort Lesley J. McNair, Washington, D.C.
1976 National War College, Fort Lesley J. McNair, Washington, D.C. He commanded U.S. and allied air operations for Operation Desert Shield and Desert Storm in Saudi Arabia from August 1990 until his return to Shaw AFB in April 1991. June 1992 – September 1994, Commander in Chief, North American Aerospace Defense Command and U.S. Space Command; Commander, Air Force Space Command, Peterson AFB, Colorado
September 30, 1994, Retired from active duty. Flight information
Rating: Command pilot
Flight hours: More than 5,300
Aircraft flown: F-100, F-105, F-4, F-15, F-16
Pilot wings from: Laredo Air Force Base, Texas

Awards and decorations

Other achievements
1991 U.S. News Trophy
1991 History of Aviation Award
1991 Maxwell A. Kriendler Memorial Award
1991 Aviation Achievement Award
1991 Air Force Order of the Sword
1991 Aviation Week and Space Technology's Aerospace Laureate
1992 National Veteran's Award

Promotion dates
Second Lieutenant June 13, 1958
First Lieutenant June 12, 1960
Captain October 1, 1963
Major June 1, 1969
Lieutenant Colonel November 1, 1973
Colonel February 1, 1975
Brigadier General August 1, 1982
Major General July 1, 1985
Lieutenant General May 1, 1987
General July 1, 1992

Notes

References

1936 births
Living people
People from Davenport, Iowa
United States Air Force generals
United States Air Force personnel of the Vietnam War
United States Air Force personnel of the Gulf War
Military leaders of the Gulf War
College of William & Mary alumni
University of Iowa alumni
Recipients of the Distinguished Flying Cross (United States)
Recipients of the Legion of Merit
Recipients of the Silver Star
Recipients of the Air Force Distinguished Service Medal
People from Okaloosa County, Florida
People from Fort Walton Beach, Florida
Recipients of the Air Medal
Recipients of the Order of the Sword (United States)

masks:
Charles Albert Horner
Horner
Horner
Horner
Horner
. Horner


text_chunks:
<mask> (August 20, 1824 – April 25, 1876) was an Irish-American actor-comedian popular during the mid decades of the 19th century. He was probably best remembered by audiences of the day for playing Ragged Pat in J. A. Amherst's drama Ireland as it is and the title role in Samuel Lover's comic opera Rory O'More. Throughout the greater part of his career he was billed along with his wife, the former Maria Pray, as Mr. and Mrs. <mask>.<ref>[https://books.google.com/books?id=6DoIAAAAQAAJ&pg=RA1-PA295 Mason, James - The History of the Year 1876, 1876, p. 295] accessed 1.28.2013</ref>

When Benjamin H. Day founded the New York Sun in 1833, he employed <mask> as his first, and for a time, only newsboy. Biography
Bernard O'Flaherty was born in 1824 at Cork, Ireland, to Michael and Mary O’Flaherty.Note: Birth year sometimes listed as 1823 - Hill, Thomas Edie - Hill's Album of Biography and Art - 1888; p.295 accessed 2.25.2013 In 1831 his family immigrated to America where his father would become a New York City policeman. As a boy <mask> ran errands, sold newspapers, worked at a printer's office and at some point began performing bit parts at New York's Franklin Theatre. On one night in 1836 he was given the opportunity to play a speaking rôle in The Ice Witch that came available after actor <mask> suddenly fell ill. As a result of his performance, <mask> became a regular cast member.His stage name was <mask>.1850 U.S. Census, Bernard O’Flaherty, actor-Ancestry.com

<mask>'s first big hit (c. 1840) was as Pat Rooney in The Omnibus (Williams: p. 69). This play was written by his mentor Tyrone Power around 1833. Maria made her stage debut at the Chatham Theatre as a member of the corps de ballet, in the first production of a burlesque entitled "New York Assurance"; it was a travesty on "London Assurance". <mask> is also credited as introducing Irish clog dancing to America. In 1843 <mask> played the role of Jerry Murphy in Bumpology at the Chatham. In these days <mask> played in several roles in the Tyrone Power repertory, including Paddy O’Rafferty in Born to Good Luck and Terry O’Rourke in The Irish Tutor. In 1844, <mask> was a member of a company owned by P.T.Barnum called a "Moral Lecture Room". By 1845, at age twenty-two, <mask> was manager of Vauxhall Garden located at LaFayette Street in New York. For several seasons <mask> was a popular blackface comedian touring with the Kentucky Minstrels before embarking in 1846 on his career as a comedian. On November 24, 1849, <mask> married actress Maria Pray (1828–1911), the widow of actor Charles Mestayer who died the previous year. She was the daughter of William Pray, an actor who perished in a New York theatre fire, and a sister of Malvina Florence, actress wife of the well-known actor William J. Florence.Mrs. <mask> Dead-The New York Times, May 7, 1911, p. 11
 After marrying, <mask> stopped acting in the negro minstrelsy genre. In 1850 <mask> and Maria appeared at The National Theatre in New York, in the title roles of The Irish Boy and Yankee Girl.On August 18 (1853), the <mask>es commenced an engagement at Niblo's Garden in New York, appearing in Ireland As It Is. On August 25, the couple produced their new drama, Shandy McGuire, with both taking the lead roles. As a team, <mask> and Pray would find the greatest successes of their careers beginning [1854] with long runs at San Francisco's Metropolitan Theatre. They also performed in Sacramento, Marysville, Stockton, Grass Valley, and Nevada. The couple set sail for London on June 7, 1855, where they performed at the Adelphi Theatre in London. The latter engagement led to a four-year tour of Europe performing in plays such as Rory O'More among others. <mask> often played Irish characters to Pray's Yankee in performances that on four occasions were attended by Queen Victoria.From 1856 to 1857 the <mask>es performed at The Adelphi. According to the London Times they performed the following: Bobbing Around, Polly, Won’t You Try Me, Oh?, and My Own Mary Anne. Some of their more popular performances were Ireland As it Is, Barney the Baron and Our Gal. On July 24, 1856, <mask> and Maria performed for the Royal family, and again in February 1857. While in the U.K., the couple toured Dublin, Cork, Belfast, Limerick, Edinburgh, Glasgow, Liverpool, Manchester and Birmingham. The Williamses returned to New York in October 1859. On October 17, 1859, they appeared at Niblo's Garden playing in Born to Good Luck, An Hour in Seville, and in Latest from New York.This engagement lasted 36 nights. The two starred in annual tours throughout most of the 1860s before <mask> was given the opportunity to manage (1867–1868) Wallack's Broadway Theatre. In the 1860s they most performed in Philadelphia, Baltimore, Washington and New York. By 1863 they were playing in Washington, D.C., performing The Fairy Circle in Grover Theatre in February. On February 26 they performed at Grover's for Abraham Lincoln. In October 1863 <mask> performed for the Union troops of the 47th New York Infantry Volunteer
Infantry as they sailed down the Hudson, as mentioned by Private Miles O’Reilly. <mask> and Maria appeared at Niblo's Garden in New York in Irish and Yankee Life and The Connie Soogah, December 1864.<mask> may have sung The Bowld Soldier Song for the Irish Brigade of the 63rd New York Volunteers in 1864. Maria debuted on French stage, April 23, 1867; she appeared in the French Theatre in New York acting the part of Caesarine Clapier in the vaudeville of Le Marly dans du Coon. <mask> and Maria appeared in The Emerald Ring at the Broadway Theatre in New York, April 5, 1869. On April 28, 1869, <mask> played the last night the theatre was open in Ireland As It Was as Ragged Pat. <mask> and Maria began an engagement in Connie Soogah, or the Jolly Peddler on September 21, 1874, at Booth's Theatre in New York. In December 1875 <mask> performed – perhaps for last time – at Booth's theatre, The Coonie Soogah and The Fairy Circle''. <mask> died in New York City as a result of a stroke while in his 51st year (1876).Over his career <mask>’ success was such that he became one of the wealthiest actors of his day, leaving behind an estate considered to be in the neighborhood of $400,000. <mask>’ funeral service was held at St. Stephen's Roman Catholic Church on the morning of April 28, 1876. Listed among his pallbearers were General John C. Frémont, Judge John R. Brady and actors Lester Wallack and John Brougham. <mask>’ remains were interred at the Green-Wood Cemetery in Brooklyn. He was survived by his wife, daughter Marie and three sisters. Over on the other side of the cemetery, on Battle Hill, from which the bay and the city can be viewed, sleeps <mask>, almost the first actor in the line of Irish comedy. His monument is a rich and costly one, of the Gothic order.It is adorned with a marble bust of the comedian. On the base of the monument is the name "Bernard Flaherty," which was the real name of <mask>. Historic Long Island, 1902, Rufus Rockwell Wilson

Maria's last performance was in 1877, performing a week's engagement at the Walnut Street Theatre in Philadelphia. Maria Pray <mask> died in 1911 in New York City. References

External links

New York Public Library (Lincoln Center) - has several original plays related to <mask> and <mask>. New York Public Library (Lincoln Center) - shows what images of <mask> and Maria are in the NYPL archives. Barney Images Private Collection several period images, including CDVs, of Barney & Maria from a private collection (Flickr).The Life and Career of Irish Songster <mask>, a ScribD publication by Kraig W. McNutt

1824 births
1876 deaths
Burials at Green-Wood Cemetery
American male stage actors
19th-century American male actors
Irish emigrants to the United States (before 1923)
Male actors from Cork (city)

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<mask> (born September 27, 1954) is a psychologist, administrator, and educator who has conducted research and written books on the topic of racism. Focusing specifically on race in education, racial identity development in teenagers, and assimilation of black families and youth in white neighborhoods. <mask> uses works from her students, personal experience, and psychology learning. <mask> served from 2002 to 2015 as the ninth president of Spelman College, the oldest historically black women's college in the United States. <mask> is the author of the widely acclaimed book "Why Are All the Black Kids Sitting Together in the Cafeteria" And Other Conversations About Race, in which she argues that Americans are reluctant to talk about issues of race, and that we must begin to consider the psychological effects of racial identity development. In her more recent 2007 book, Can We Talk about Race? and Other Conversations in an Era of School Resegregation, <mask> again highlights the urgent need for conversations about race, emphasizing the continued racial segregation of schools and the impacts that this has on achievement of racial minorities.Early life

<mask> <mask> was born on September 27, 1954, in Tallahassee, Florida. Her parents were Catherine Faith Maxwell and Robert A<mask>. <mask> calls herself an "integration baby", having been born only four months after the 1954 Supreme Court ruling on Brown v. Board of Education that outlawed race-based segregation in schools. <mask> grew up in Bridgewater, Mass., where she recalls usually being the only black student in her classes. Much of her family, including her parents, grandparents, and great-grandparents attended some of the best historically black colleges, such as the Tuskegee Institute and Howard University. However, when Tatum graduated high school in 1971, she was not limited to only historically black colleges and universities. <mask> earned a B.A.in Psychology from Wesleyan University. She also received her M.A. in Clinical Psychology in 1976 from the University of Michigan, and a Ph.D in clinical Psychology in 1984, also from the University of Michigan. Much later in 2000, she received an M.A. in religious studies from Hartford Seminary. Academic career

<mask> initially taught Black Studies at the University of California at Santa Barbara from 1980 to 1983. She then went on to be a professor of Psychology at Westfield State College (1983-1989), and later served as a professor of Psychology for thirteen years at Mount Holyoke College in South Hadley, Massachusetts.While at Mount Holyoke, she was also appointed as chair of the Psychology department, Dean of the College, Vice President for Student Affairs, and acting President of the College. In the fall of 2002, <mask> became the President of Spelman College, a historically black liberal arts women's college located in Atlanta, Georgia. Her tenure there was marked by many successes, including a 10-year campaign that increased the alumni donation rate up to 41%, and raised $157.8 million. <mask> has brought her expertise in the realm of racial identity development to lectures, workshops, and panels across the country, even speaking as a panel member at the Summit on Race Relations and America's Public Education System, a publicly broadcast conversation about race relations that was hosted by President Bill Clinton. In addition to being a renowned educator and author, <mask> also worked as a practicing clinical psychologist from 1988 to 1998. Her area of expertise was in diversity training and multicultural organizational development, which she would carry out in individual and group sessions. <mask> was elected to the American Philosophical Society in 2014.Dr. <mask> <mask> retired in July 2015 as President Emerita of Spelman College. She now hopes to focus on work as an author, lecturer, and expert of racial identity development. Race and education

In <mask>'s widely cited article Talking about Race, Learning about Racism: The Application of Racial Identity Development Theory in the Classroom, published in the Harvard Educational Review, she describes her experiences teaching classes on race related issues, and applies Racial Identity Development Theory as a framework that is useful for understanding common student responses to such topics. She summarizes her career-long commitment to teaching about and leading discussions on race at various institutions in the following quote:

"I was convinced that helping students understand the ways in which racism operates in their own lives, and what they could do about it, was a social responsibility that I should accept." Over her many years as an educator, <mask> taught a course titled "Psychology of Racism" eighteen times at three separate institutions. While the class sizes, the institutions, and the students varied a great deal, <mask> says that classes shared a common thread in how the students tended to react to the material. She describes how students often responded to such topics emotionally, expressing guilt, shame, and anger, all of which had the potential to prevent them from engaging with and appreciating the material.<mask> argues that students tended to resist the topic of race in part because it is considered taboo, but also because it clashes with meritocratic ideals that are prominent in America, and because white students often fail to recognize that race has meaningfully impacted each of their lives. <mask> explains this resistance further in terms of William E. Cross, Jr.'s Racial Identity Development theory, a theory that explores the psychological effects of coming to terms with one's racial group membership. Racial identity theories have been modeled for blacks and whites, but these theories vary markedly in terms of the developmental stages by which they are defined. As a professor, <mask> has observed many students go through these stages of racial identity development, and provides quotes from journal entries in which the students react to the class discussions and material over the course of a semester. In presenting these journal entries, <mask> reveals that while students go through their own personal evolution in response to topics of race, their experiences also tend to map onto racial identity theory quite well. <mask> argues that the model, while imperfect, is a very useful tool that enables students to frame their experiences in a meaningful way, thereby facilitating positive student development. <mask> touches on many of these same issues in her popular book "Why Are All the Black Kids Sitting Together in the Cafeteria?"And Other Conversations About Race. In the book, she offers a detailed overview of racial identity development in black individuals and white individuals and briefly addresses racial identity development of Native Americans, Latinos, and Asian Americans. She draws on vivid personal anecdotes of interactions with her own children and students, as well as empirical literature, to build a case for the relevance and significance of racial identity development in terms of achievement, mental health, and inclusion. <mask> emphasizes the need for educators, parents, and the general public to educate themselves about such topics in order to meaningfully hold conversations about race, specifically as it relates to education. Legacy

In 2014, the American Psychological Association presented Dr. <mask> <mask> with the Award for Outstanding Lifetime Contribution to Psychology, the highest honor presented by the APA. The citation for the award stated the following: "you have engaged the very difficult subject of race relations in the United States, and the impact of such an environment on identity development for African Americans." Indeed, <mask> has dedicated much of her career to conversations with the public on the subjects of race and racial identity development.As a result, she has become a nationally renowned expert on such issues, and has been invited to speak and conduct workshops at various institutions across the country. <mask> has also clearly left her mark at Spelman College, where she served as President for 13 years. Since the beginning of her tenure in 2002, the overall scholarship support for students at Spelman has doubled. <mask> was also involved in the initiative "Going Global", which seeks to develop student intercultural competencies through infrastructural support for Global study-travel programs. In 2012, she launched a Wellness revolution, which was designed to empower students to make healthy choices relating to exercise, diet, and sleep. And in 2014, <mask> helped the college to raise 157.8 million dollars, an amount that far exceeded fundraising goals and was the most money to have been fundraised in the history of the institution. Other selected publications

 Assimilation Blues: Black Families in a White Community (revised), 2000.<mask>, B. (1994). Teaching White students about racism: The search for White allies and the restoration of hope. The Teachers College Record, 95(4), 462-476. Lawrence, S. M., & <mask>, B. D. (2004). White educators as allies: Moving from awareness to action. Off white: Readings on power, privilege, and resistance, 362-372.<mask>, B. D. (2000). The complexity of identity: Who am I. Readings for diversity and social justice, 9-14. <mask>, B. D. (2004). Family life and school experience: Factors in the racial identity development of Black youth in White communities. Journal of Social Issues, 60(1), 117-135. See also

 Presidents and principals of Mount Holyoke College

References

External links

1954 births
American women psychologists
American psychologists
Hartford Seminary alumni
Living people
Mount Holyoke College faculty
Presidents and Principals of Mount Holyoke College
Presidents of Spelman College
Psychology educators
University of California, Santa Barbara faculty
University of Michigan alumni
Wesleyan University alumni
African-American psychologists
Members of the American Philosophical Society

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<mask> (née <mask>, later Wright, 1 September 1884 – 3 August 1961) was an Australian artist. Born in the Victorian city of Ballarat, she studied under a leading Australian Impressionist, Frederick McCubbin, at the National Gallery of Victoria Art School from 1902 to 1905 and was an early member of the Melbourne Society of Women Painters and Sculptors. Following the death of her father in 1907, <mask>, her only sibling Elsie and her mother travelled to Europe where she undertook further study, first in London and then Paris. Her teachers during the period included John Hassall, Richard Emil Miller and Théophile Steinlen. After travelling to Tangier in 1912, <mask> held several successful exhibitions of her work, with one drawing, Grande marché, Tanger, purchased by the French government. She was one of the first Australians to paint post-impressionist landscapes, was made a member of the Société des Peintres Orientalistes Français, and had works hung in the Paris Salon in 1911 and 1913. The family evacuated from France to England after the outbreak of World War I.A period of personal tragedy followed, as <mask>'s sister died in 1914, then her mother in 1915. In 1916 she met and married George Matson <mask>, only to be widowed the next month when he was killed on the Western Front. Returning to Australia in 1918, <mask> <mask> once more took up professional painting, and held an exhibition of over a hundred works at Melbourne's Guild Hall. Many sold, including In Picardy, purchased by the National Gallery of Victoria. Following a period painting in rural locations in the early 1920s, <mask> <mask> returned to Europe. A 1925 exhibition in Paris led to the sale of her work In Australia to the Musée du Luxembourg, followed by an extensive tour of her paintings around regional British art galleries. Other exhibitions, such as the International Society of Sculptors, Painters and Gravers, and the Royal Academy of Arts, both in London, soon hosted her work.She was made an Associate of the Société Nationale des Beaux-Arts after several of her works were included in its 1926 Spring exhibition in Paris. In 1926, <mask> <mask> returned to Australia, and in 1928 she married Edgar Wright, whom she had met during her travels in the early 1920s. The couple settled at Delegate, New South Wales; their only child, a son named <mask> Wright, was born in 1930. Though she continued to paint significant works including The Summer House and The Fair Musterer, <mask> <mask>, a staunch critic of modernism and disdainful of emerging major artists such as Russell Drysdale and William Dobell, grew out of step with trends in Australian art. Her pictures followed a conservative modern style, portraying an Australian pastoral ideal, and reviews of her exhibitions grew more uneven. She held her last solo show in 1947. <mask> <mask> remained at Delegate until her death in 1961.Her works are held in most major Australian collections, including the Art Gallery of South Australia, Australian War Memorial, National Gallery of Australia, National Gallery of Victoria, and the Queensland Art Gallery. Early life
Henry Finch <mask> and Elizabeth Sutton, each of whom had migrated to Australia as children with their families, met and married in Victoria in 1876. They had two daughters, Elsie Bertha, born in 1877, and <mask> (known ubiquitously just as <mask>), born in Ballarat on 1 September 1884. The <mask> children grew up in a gifted and energetic family. Henry, a mathematics teacher, was appointed a district Inspector of Schools in the 1880s; he was also a poet who wrote in support of Australian Federation, and played Australian rules football for the Carlton Football Club. Elizabeth had grown up assisting in her parents' thriving music business in Ballarat, and was a singer who performed with the Ballarat Harmonic Society. In addition, she had a studio in Melbourne's Flinders Street, and a committee member of the Austral Salon, "a meeting place for intellectual women interested in the fine arts."She painted in an academic style, generally choosing still lifes and flowers as subjects, though she painted some large landscapes in the Beechworth region. <mask> and her sister Elsie both played musical instruments as children, performing songs and dances at regional shows. Elsie was a singer and actor who performed at the meetings of the Austral Salon, and the sisters collaborated in designing posters for the Salons. As a child, <mask> was enthusiastic about drawing. Her artistic efforts drew praise while she was attending high school at Melbourne Girls Grammar (known as Merton Hall), though in most other respects <mask> was not an outstanding student. Both took art lessons with a Mr Mather, before <mask> studied at the National Gallery of Victoria Art School from 1902 to 1905, where she was taught by a leading Australian Impressionist, Frederick McCubbin. Her fellow students were mostly women and included Jessie Traill, Norah Gurdon, Ruth Sutherland, Dora Wilson, and Vida Lahey.<mask> would subsequently be critical of McCubbin's approach to teaching, referring to his methods as "vague persuasions". Nevertheless, the author of the only comprehensive biography of <mask>, John Pigot, considered that McCubbin influenced her in several ways: he emphasised the creativity of individuals rather than imitating the style of any one school of painting; he modelled the importance of nationalistic ideas and subjects that would become so prominent in her later painting; and his work emphasised the painting's subject over technical considerations. Drawings undertaken by <mask> while she was still a student were included in annual exhibitions at the Victorian Artists' Society and the Austral Salon. At the same time, she was working as a professional illustrator for textbooks and a periodical, the School Paper, published by the Victorian Department of Education. In 1903, all of the <mask> family women had works included in the Austral Salon's exhibition. One of <mask>'s early sketchbooks survives and pages from it were reproduced in the 2012 book, In Search of Beauty. Although she described the works as her "very earliest drawings when a child in Melbourne", the dated pages indicate they were created up until at least the age of twenty.They mostly portray women, and the settings and dress of her subjects reflect the relatively affluent and educated milieu of which the <mask> family were part. In this period, it was common for aspiring Australian artists to seek further training in Europe, particularly London and Paris. <mask> arranged to take his family there in conjunction with a trip he was making to study British education reforms, purchasing first-class tickets to travel in 1906. But Henry, who had been overworked and ill, died suddenly, and for a time it appeared the trip might not happen. Denied a widow's pension (Henry had been 58: too young for his wife to be eligible), the family had to reorganise their affairs and work out if they could afford to get to Europe. Finally, by combining an inheritance, rental income from their home, and money raised through the sale of works by both mother and daughter, they were able to trade the first class tickets for second class berths, and they set sail for England early in 1907. Europe 1907–12

Just before her departure from Australia, <mask> was advised by the painter Arthur Streeton to study with many different masters, as a means of preserving her own originality.Her subsequent career reflected that advice. One of her first teachers was John Hassall, although he had initially protested that she was already a better drawer than himself. <mask> thought him "simply great", and Pigot credits Hassall's simple and direct style with influencing the artist's later practice. Late in 1907, <mask> moved with her sister and mother to Paris, where they lived in Montparnasse. There she met with Australian artist E. Phillips Fox, went on sketching expeditions to the Jardin du Luxembourg where Ethel Carrick Fox worked, and became a student at the Académie Delécluse, operated by academic painter Auguste Joseph Delécluse. She found his guidance in life drawing enormously valuable, though she thought his approach to colour "too drab". The following year she was taught by American impressionist Richard Emil Miller.From him she acquired the use of a relatively bright colour palette, not always naturalistic, as well as his dextrous technique; she did not, however, follow his predilection for pretty compositions, favouring more direct and clear images. Continuing to acquire skills from a wide range of artists, she next studied at the Académie de la Grande Chaumière, including with Swiss-born illustrator Théophile Steinlen. <mask>, her sister and mother, spent summers traveling together. In 1908 they journeyed through France and Italy, and later at the artists' colony at the fishing village of Étaples, in northern France. Among the artists active there was Frenchman Jules Adler, who took an interest in <mask>'s work, as well as many Australians, including Rupert Bunny, James Peter Quinn, Edward Officer and one of the colony's longest-term residents, Iso Rae. Around 1909, <mask> met Wim Brat, an architecture student from a wealthy Dutch family. He asked <mask>'s mother for approval to marry her daughter, and Mrs <mask> agreed.An initial engagement turned sour, however, when <mask> spent time at her fiancé's home, where she found her prospective husband dominated by his mother, who strongly disapproved of the match. <mask> reluctantly broke off the engagement. <mask> continued to work, and was rewarded with hangings at the Paris Salon in 1911, alongside fellow Australians Arthur Streeton and George Bell. She took up study at Académie Colarossi at the time Henri Matisse was painting from the academy's models and offering an open studio to its students. At this time she became only the second Australian to have a work acquired by the French government, and is considered by Australian curator Elena Taylor to be, after the established expatriates Bunny and Phillips Fox, "without doubt the most successful of the Australian artists in France". Moroccan paintings 1912–14

Many women artists visited and worked in north Africa in the late nineteenth and early twentieth centuries; <mask> twice visited the region, resulting in some of her most significant artistic development and works. She first joined American painter Henry Ossawa Tanner, his wife and a Miss Simpson on a trip to Morocco in January 1912.They travelled via Spain, where <mask> viewed the work of Velázquez, whose compositions and palette she greatly admired. The party's destination was Tangier, a place where many other artists had sought inspiration. Jean-Joseph Benjamin-Constant lived and painted there in the 1870s, while John Singer Sargent visited in the 1880s. Henri Matisse also visited Tangier in 1912 and, like <mask>, travelled to Tétouan, about  east of Tangier; they used the same models. For about three months, <mask> sketched and painted in Tangier, spending time in the open-air market place or soko. Her enthusiasm for the place was evident from her correspondence:
Picture me in this market-place – I spend nearly every day there for it fascinates me completely – have done 16 drawings and two oil things so far – Am feeling thoroughly at home now so am going to take out my big oil box – wanted to get used to people and things first – Oh how I do love it all! ... Oh the sun is shining I must out to work.Morocco had a similar effect on <mask> as it did on many artists who visited. Paintings were created in high-keyed colours that captured the intense north African light, and most works focussed on the figures, dress and activity of the people, or the local architecture. One interpretation of the perspective of <mask> is that she was an orientalist, in the sense used by academic Edward Said. Pigot, in his exhibition essay Capturing the Orient, considered how <mask>'s works "emphasise the exoticism" of the locations she portrays. Representing the Orient through the objective depiction of costumes and dress maintained the counterfeit truthfulness of orientalist imagery, concealing the reality of oriental life and the violence that underscored the colonial project. In <mask> <mask>'s imagery costumes embodied the exoticism of the East and signified its sense of cultural 'otherness'. On the other hand, Hoorn argues that <mask> and her sister were to a significant extent counter-orientalist: they focussed on the common nature of human experience rather than cultural expressions of difference and they sought to portray everyday life in Tangier as they found it, rather than presenting generalised views of the orient.Her works similarly reflect a modernist approach to the empirical: in using the bright light of north Africa to help bring out the structures and shapes that made up visual impressions. Hoorn wrote:
She did not seek out or embellish her pictures with the "orientalist" stereotypes that she had learned while growing up in Melbourne...In her writing and painting, she actively campaigned against what she saw as the fakery of "orientalism". Her pastel drawings and oils strive to present an accurate account of the dress, manners and appearance of her subjects. Stylistically, <mask>'s Moroccan paintings have been characterised as the "most abstract, flat and post-impressionistic of her career". <mask> <mask>'s approach may have been influenced by Matisse: they stayed in the same hotel in Tangier at the same time for nearly two months, travelled to Tétouan during the same week, and may be in a photograph together taken during that trip. She was one of the first Australians to paint post-impressionist landscapes, including Men in the Market Place, Tangier (1914) and View of Tangier (1914), produced during a second visit to the city. They demonstrate the development of her style at the time: loose brush strokes, a palette confined to a few low-keyed colours, and an emphasis on shadow and light, affecting both the overall impression made by the picture and the treatment of individual figures.The 1912 trip represented a landmark in her work, led to several exhibitions and her first significant international critical acclaim. The journeys are the subject of one of the few books about the artist's work, Jeanette Hoorn's <mask> Rix Nicholas and <mask>'s Moroccan Idyll: Art and Orientalism. Exhibition of her first works produced immediate results: the French government purchased one of her pictures of the market in Tangier, and in 1913 she again had paintings displayed at the Paris Salon. The purchase by the French government was of a pastel drawing, Grande marché, Tanger, which she would later copy in oils. The drawing was favourably discussed in the French edition of the New York Herald, but not by one The Sydney Morning Herald reviewer, who complained that "the drawing and colour are eccentric, after the post-impressionist manner" and described the central figure as "grotesque in its want of finish". The Herald's reviewer was at odds with prevailing sentiment. Her success was widely reported in Australian papers such as  Hobart's Mercury, Melbourne's Argus and Adelaide's Register.In addition to displaying the results of her trip at the Salon, she was invited to exhibit in 1913 and 1914 at the Société des Peintres Orientalistes Français, also in Paris. <mask> was made a member of the society. In November 1912, there was a solo exhibition at a private gallery, Galerie J Chaine and Simonson. Her work was illustrated in the Notre Gazette, reflecting her emerging status as a significant artist, and the French press reported her exhibitions. She returned to Tangier again in early 1914, this time with her sister Elsie, who also drew and wrote but whose main purpose was to provide her sister with company, assistance and protection from curious onlookers while she painted. <mask>

masks:
Hilda Rix Nicholas
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Henry Rix
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 painted regularly at the soko, where she would both attract much attention and sometimes disrupt the flow of traffic as she sketched. The sisters returned to England and then to France, where <mask> again spent the summer at  Étaples, until the outbreak of World War I resulted in evacuation to London in August.Disaster 1914–18
Her retreat to London began a tragic period in her life. <mask>'s mother Elizabeth had been unwell, and deteriorated during the crossing from France to England. Elizabeth was brought to hospital when they landed; though she partially recovered and was moved to a nursing home, her other daughter, Elsie, fell ill with typhoid. <mask> moved between her two ailing family members until, on 2 September 1914, Elsie died. For three months she withheld the news from her mother, fearing it would harm her already fragile condition. Elizabeth survived the news, but as the war continued, <mask>'s artistic output dwindled almost to nothing. Then in March 1916, Elizabeth died.<mask> was just over thirty years old, and all her immediate relatives were now dead. Recalling the experience, she later wrote: "I could scarcely put one foot in front of the other and walked like an old thing". Further misfortune arrived when in France, an Australian officer, Captain George Matson <mask>, was posted to  Étaples. He heard about the female Australian artist who had to leave her paintings behind when she and her family left abruptly for England. <mask> sought her works and admired them, and decided to contact the artist when next he was on leave. He met <mask> in September 1916, and they were married on 7 October at St Saviour's, Warwick Avenue in London. After three days together, he returned to duty; she was widowed five weeks later on 14 November, when he was shot and killed during battle at Flers, on the Western Front.Initially writing in her diary that she had lost the will to live, <mask> <mask>'s grief eventually found its expression in three paintings, titled And Those Who Would Have Been Their Sons, They Gave Their Immortality (a phrase from a poem by Rupert Brooke), Desolation and Pro Humanitate. The second of these paintings (which was destroyed by fire in 1930), portrayed a gaunt and tearful woman shrouded in a black cloak, crouched staring at the viewer amidst a battlescarred landscape, featureless but for the crosses on distant graves. The National Gallery of Australia holds a charcoal drawing made as a study for the work. Desolation was "a portrait of a woman cradling a ghostly child". The reviewer for the Sydney Morning Herald wrote of the painting:
Desolation is almost gruesome in the grim delineation of the figure typifying all the widowed world in one lone woman. There she sits, lost in an awful reverie, over the stricken battlefield. The work is an epitome of wasteful ruin.Her triptych Pro Humanitate conveys the tragedy of her short marriage to <mask>, but like Desolation, it was destroyed in a fire. The work comprised panels representing a happy couple in an outdoor vista; the moment of death of a soldier, arms outstretched in a crucifixion pose; and the grieving widow, watched by the ghost of the soldier. In visualising "the ruin caused by war", her works were more personal than those of other artists of the last years of World War I, such as Paul Nash and Eric Kennington, and her representation of widowhood was both unusual for its time, and confronting for the viewer. Return to Australia, 1918–1923
In March 1918, <mask> <mask>, along with her brother-in-law Athol <mask>, left England and arrived in Melbourne on 10 May. There, with the encouragement of artist Henrietta Gulliver and the members of the city's Women's Art Club, <mask> <mask> began to reconstruct her career as a professional artist. It did not take long. In November, she was among the members of the Club whose works were displayed at the Athaeneum Hall, where a critic described her as the "dominating personality of the show".At the same time, in Melbourne's Guild Hall she held a large exhibition of her European and north African paintings, sketches and drawings, with over a hundred works on display. Several were sold, including In Picardy, purchased by the National Gallery of Victoria. Noting the artist's success in Paris and London, the reviewer for The Argus admired her "appreciation of character and talents for observation and representation", while The Age was struck by "the influence of modern French Impressionism in [her paintings'] fearless handling of sunlight and open air effects." When the exhibition travelled to Sydney in 1919, reviews were likewise positive both from newspapers and from her peers such as Julian Ashton, Antonio Dattilo Rubbo and Grace Cossington Smith. The Sydney show also resulted in the purchase of several of her works by the Art Gallery of New South Wales. In 1919, <mask> <mask> moved to Sydney and settled in Mosman, where she made new friends and produced a range of landscapes and outdoor portraits, often continuing her post-impressionist style. The artist experienced further success in her exhibitions and with regular favourable reviews in the press, such as for her show in the Queen Victoria Markets in September 1920.Nevertheless, Pigot has argued that her place in the Australian art world at the time was complex, and her style was affected by vigorous debate around the emergence of modernism, which was being resisted by local critics. Her experience of this more conservative Australia, and the effects of the deaths of all those close to her, contributed to <mask> <mask> abandoning her more experimental art, and returning to more academic and figurative subjects. This ultimately had a detrimental effect on the long-term trajectory of her career. Pigot argues that her refusal to conform to the gendered expectations of the Australian artistic establishment led to her rejection. In 1922, a competition was launched by the trustees of the Melbourne Public Library for a mural to commemorate the Great War. <mask> <mask> learned of the competition and quickly prepared and submitted an entry. Three judges, all respected Melbourne academic artists, submitted a report to the trustees, who met to consider the entries received.The trustees voted six to five to grant the commission to Harold Septimus Power, despite the fact that he had not fulfilled the conditions of entry; they then withheld the judges' report from publication, decided not to exhibit any of the competition entries, and delayed awarding any prize. One newspaper reported that <mask> <mask>'s entry had been one of the top three. <mask> <mask> was furious, as were some former soldiers who wrote letters to newspapers about the incident. Pigot suggests that gender was a factor: "While <mask> <mask>'s claim to be a war artist was legitimate, the fact that she was a woman meant that she was denied an equal place within the discourse". The Australian War Memorial was building a collection of art commemorating the war around the time <mask> <mask> offered her triptych Pro Humanitate. But it was rejected; the acquisitions described it as ‘of too intimate a character for inclusion in a public collection’. The Memorial eventually decided to purchase one of her works portraying a French woman (titled A Mother of France (1914)), but not the other work offered, which depicted an Australian soldier (A Man (1921).According to Pigot, this reflected the gendered approach taken by institutions, which considered that subjects suitable for portrayal by artists were dependent upon their sex. It may have further been influenced by the Memorial's strategy for collection development, which at that time emphasised acquisition of portraits of senior officers. Whatever the view of competition or acquisition committees, her works were "popular with the soldiers themselves, and in this way they actively shaped the image of the digger". Her paintings of war subjects were just one aspect of <mask> <mask>'s developing commitment to nationalist ideals and the heroic representation of Australia. At the time of her 1919 exhibition, <mask> <mask> had commented that she wished "to show the people [of Europe] what is possessed in a land of beauty where the colour scheme is so different, and which sent so many gallant men to the struggle for liberty". In this respect she was following in the tradition of the Australian Impressionists and writers such as Henry Lawson and Banjo Paterson, who extolled the virtues of the bush and pioneer life. Accompanied by her friend Dorothy Richmond, <mask> <mask> set out to paint in rural New South Wales, beginning in Delegate, a small town on the border of New South Wales and Victoria.Here she created numerous works, including In Australia, His Land, and The Shearers. Other works from this period include The Three Sisters, Blue Mountains (1921–22), which is in the collection of the National Gallery of Australia. While Australian patriotic imagery and discourse of the period was very male-dominated, <mask> <mask>'s portraits were frequently of women, such as in The Monaro Pioneer, The Magpie's Song and Motherhood. Back in Sydney, <mask> <mask> held another solo exhibition in August 1923. Once again it was favourably reviewed, and there was again the description of her work in masculine terms: the reviewer at Sydney's Sunday Times described her as "the most virile, and, in many respects, the strongest woman painter Australia has yet produced". <mask> <mask> disliked being thought of as a "woman" artist, but she took such reviews as complimentary, given how dismissive were critics in general when considering paintings by women. Second trip to Europe, 1924–26

In 1924, <mask> <mask>, again travelling with Dorothy Richmond, set sail for France, intending to exhibit her works in Europe.She voyaged on the Ormonde, which was also carrying the Australian Olympic team. She befriended several of the team members and painted a portrait of one for an Olympic artists' competition. Arriving in Paris in June, eventually <mask> <mask> rented a studio in Montparnasse, which had previously belonged to French artist Rosa Bonheur. An exhibition at the "prestigious" Georges Petit Galerie in Paris in January 1925 was a great success. It led to important sales, including to the Musée du Luxembourg, making her the only Australian woman to have more than one work in its collection and, according to one report, one of only three Australian artists represented at all at that time, the others being Rupert Bunny and Arthur Streeton. The exhibition led to a tour of her works to London and British regional galleries, the first time any Australian artist had archived such prominence; between 1926 and 1928, her works were shown in Hull, Sunderland, Tyne and Wear, Bootle, Blackpool, Northampton, Warrington, Folkestone, Leicester, Derby, Gateshead and Leek in Staffordshire. The work purchased by the Luxembourg in 1925 was In Australia, a portrait of Ned Wright, manager of the property at Delegate where she had stayed in the early 1920s.He is portrayed on horseback, a pipe clasped in his exposed and bright teeth, with a panoramic backdrop of an Australian pastoral landscape. His stance is casual, self-assured and heroic, consistent with the up-beat nationalism of Australia at the time. 1925 saw further exhibitions, including at the International Society of Sculptors, Painters and Gravers, and the Royal Academy of Art, both in London. A solo exhibition that December at the Beaux Arts Gallery, London, displayed His Land, which was described as having "the rare quality of conveying the spirit of life in the Commonwealth as well as portraying that life pictorially ... the whole picture seems to convey the sunny heat-laden atmosphere of Australia". Like In Australia, this work suggests the elemental strength and vitality that <mask> <mask> advocated should pervade Australian painting. That year, <mask> <mask> created one of her most extraordinary and largest works. Standing almost  high, and  wide, Les fleurs dédaignées ('The despised flowers') is an "unnerving" and "arresting" portrait of a young woman in fashionable eighteenth-century clothing.Painted not with the artist's typical technique, but in a mannerist style, the subject faces the viewer yet is glancing away, her pose tense, expression unreadable, with a bunch of discarded flowers on the ground next to the hem of her enormous formal dress. Although portraying a young lady, the person chosen to sit was "a Parisian professional model and a prostitute, apparently with a reputation for being moody and cantankerous". The pastiche created in this work is striking: a sixteenth-century artistic style, a composition comprising a seventeenth-century tapestry and an eighteenth-century dress, created by a twentieth-century artist. It certainly reflected the scope of <mask> <mask>'s abilities and ambitions, and was painted with the specific intention of having it hung at the Paris Salon. When the work was displayed in Sydney in 1927, it grabbed The Sydney Morning Herald critic's attention:

While she exhibited many of the Australian works completed before arriving in France, she was also creating many new works, including illustrations and portraits of traditional life and costume, produced during a summer in Brittany. In 1926, <mask> <mask> was again included in London's Royal Academy of Art exhibition, where one of her Brittany paintings, Le Bigouden, was hung. She appeared at the Société Nationale des Beaux-Arts Spring exhibition in Paris, in which she had eight works, a very large number for a single artist.The Société not only hung many of her paintings and drawings: she was elected an Associate to the organisation in that year. At the end of 1926, <mask> <mask> and Dorothy Richmond returned together to Australia. Energised by her success, <mask> <mask> purchased a car, filled its rear compartment with painting equipment, and the pair set out to paint the landscape, ranging from Canberra and the Monaro plains to the south, up into central Queensland. During a publicity-attracting occasion, she painted figures on the beach at Bondi, which was reported by various publications including Australian magazine, The Home. Wright and Knockalong, 1928–61
<mask> <mask> had met the farming family, the Wrights, in the early 1920s, including Ned, the subject of In Australia. After returning to the district, she married Edgar Wright on 2 June 1928 in Melbourne, and the couple settled on a property called Knockalong, near Delegate, in the Snowy Mountains. She continued to exhibit under the name <mask> <mask>.Her friend Dorothy Richmond, with whom she had visited the region at the start of the decade, married Edgar Wright's cousin, Walter, and settled in the same region. Then, in 1930, <mask> <mask> and her husband had their only child, a son, whom they named <mask>. Characterising the modernist moment in Australian art – the period between the wars – is complex, as is understanding the position of individual artists within it. In France and North Africa in the 1910s, <mask> <mask> drew directly on impressionist ideas and techniques. In the 1920s, she had entertained Roy de Maistre, one of the first Australians to experiment with synchromism, and enthusiastically asked him to share more about his 'colour-music theory'. However, as she moved from urban to rural Australia, she did not continue to respond to radical modernist ideas. On one view, this represented a rejection of modernist themes and trends.Alternatively it can be read as <mask> <mask>'s conscious decision to maintain her own creative direction. As Petersen put it, "<mask> <mask> did not identify as a woman artist or as a modernist but simply as an artist working outside any movement or style" who "remained disinterested in the debates in Sydney over modern art trends". There was in any case, as art historian Jeanette Hoorn wryly observed, "no market for

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 post-impressionist painting in outback New South Wales in the 1920s". <mask> <mask> sought to build on her existing success and often focussed on portraits. Women were frequently portrayed, enjoying active rural life (as in The Fair Musterer) and working the land as well as in domestic or family scenes (as in On The Hilltop). Several images, such as On the Hilltop and Spring Afternoon, Knockalong portray women caring for a young son in a rural setting. Her most "stereotypically feminine" work was The Summer House, which shows two of <mask> <mask>'s friends with some freshly cut flowers, in a setting that, unlike most of her works of the period, screened out the surrounding landscape.It was a picture about which <mask> <mask> was never convinced and which she never publicly displayed. Yet it has become one of her best known works, its easy acceptance consistent with the way reviewers in the 1930s pigeon-holed her work in terms of conventional gender roles. <mask> <mask> had a number of exhibitions with some further critical success. Nevertheless, she became out of step with both the public, who bought few works at her last solo exhibition in 1947, and with some critics, who either rejected her work or criticised its lack of novelty. One critic, Adrian Lawler, observed:
Mrs <mask> <mask> is very gifted and she has her own individuality as an artist; but her personal outlook is not so much that of an artist with startling things to say ... as of a healthy fellow-Australian who loves the familiar beauty of our landscape and delights in representing it in all its splendour and virility. Another, considering a 1936 exhibition at the David Jones Gallery in Sydney, found the quality of her work uneven, and while he considered some to be strong, others were criticised as "nothing more than pretty and sentimental". <mask> <mask>'s works remained insistent in their idealism about rural Australia, but following World War II, the country – and its art critics – had moved on.In 1945, The Sydney Morning Herald critic, lambasting <mask> <mask>'s works as "crude in colour and poster-ish in presentation", concluded: "There is insufficient spiritual material to fill the canvases of <mask> <mask> ... The bravura, the boldness of these pictures is hardly in keeping with the actual knowledge displayed. A certain humility, a close attention to the organisation of detail, and less white mixed into the colours would help tremendously." The antipathy between <mask> <mask> and prevailing trends in Australian art was mutual. She was appalled by the works of Russell Drysdale and William Dobell, describing the figures in their paintings as "more like victims of the German prison camps" than representations of Australian people. It seemed that the critics did not share her opinion: Dobell and Drysdale had each just won the Wynne Prize in successive years, and both would soon represent their country at the Venice Biennale. A final trip to Europe took place in 1950.She set out to show her husband the sights of a Europe she knew well, and to find a teacher of sculpture for their son <mask>. She was distressed by the standards of artistic practice she found, and instead discouraged <mask> from any career in the arts at all. Following her last solo exhibition, a letter from <mask> <mask> to her son expressed despair in her artistic career and summarised the professional fate of her final years:
Not doing anything creative is nearly killing me. The trouble is that there is no one near me who cares whether I ever do any more work or not ... I feel the artist in me is dying and the dying is an agony ... only one's self knows the craving and the best part in one is aching unsatisfied. By this time, her health was deteriorating, and her passion for art fading. <mask> <mask> did exhibit alongside her son in a group exhibition in Sydney, in 1954; she presented two oil paintings, while her son had the largest sculpture in the show, titled The Shearer.She died in Delegate on 3 August 1961. Critical summation
Gender was a recurring theme in <mask> <mask>'s career, for better and for worse. Praise from a French art critic for her abilities was expressed by saying "[mademoiselle] <mask> paints like a man!". An Australian critic was unsure what to say, admiring her composition but declaring her technique "strangely unfeminine", while another vitriolic review referred to the "pseudo-masculinity" of her works. Pigot considered that <mask> <mask>'s career was ultimately penalised by her unwillingness to play by the male establishment's rules when she sought to stake out a woman's place in nationalist art in mid-twentieth century Australia. Sasha Grishin wrote that her "feminist tendencies and modernist touches were met with hostility". Art historian Catherine Speck had a different perspective on <mask> <mask>'s post-World War I work, suggesting that it never subsequently attained the quality of her Paris output, because her first husband's death in the Great War drove her to create nationalist images of inconsistent quality.She suggested that <mask> <mask>'s European works represented the modernist high point of the artist's career. Petersen agreed that "her tragic experiences during the war became integral to her artistic oeuvre and to her eventual concerns for national sentiment" but also thought that <mask> <mask> "continued to draw and paint with the same masterful sense of draughtsmanship, vigour and luminous paelette evident in her best work from Paris, Tangier and Sydney". In their reference work A Story of Australian Painting, Mary Eagle and John Jones considered <mask> <mask>, alongside Clarice Beckett, to be "the best woman artist to emerge from the artistic milieu of Melbourne in the decade of the First World War". Legacy
Many of <mask> <mask>'s works went into private collections for which records are limited. Many more were burned in a fire at the family property after her death in the 1960s. Despite having been welcomed to Australia as an "international art celebrity" in 1919, her fortunes declined in the latter part of her career. However, the twenty-first century saw a renewed appreciation of her output.Her oeuvre is represented in most major Australia public galleries, including the Art Gallery of South Australia, the National Gallery of Australia, the National Gallery of Victoria and the Queensland Art Gallery, with many of the works (particularly those showing Moroccan subjects) purchased after the release of Hoorn's monograph. Other collections that have acquired her work include that of the Australian War Memorial. Internationally, <mask> <mask> is represented in the Galerie nationale du Jeu de Paume and Leicester Museum & Art Gallery, as well as by her works in the Luxembourg. There have been several posthumous solo exhibitions of <mask> <mask>'s works: in 1971 at the Joseph Brown Gallery in Melbourne (established by artist Joseph Brown, donor of the Joseph Brown Collection), followed by a travelling exhibition in 1978, displayed at the Art Gallery of New South Wales, the Art Gallery of Ballarat and Macquarie Galleries. In the 1990s there were exhibitions at Ian Potter Museum of Art in Melbourne and the Caspian Gallery in Sydney, and in 2010 at Bendigo Art Gallery. In 2013 an exhibition of her work was held at Canberra's National Portrait Gallery. The National Gallery of Australia in 2014 chose The Three Sisters, Blue Mountains as the painting it would seek to acquire through its Members Acquisition Fund appeal.<mask> Place in the Canberra suburb of Conder is named in her honour. References

Notes

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Sources

External links

 <mask> <mask> at FamilySearch

1884 births
1961 deaths
Australian women painters
Artists from Melbourne
Artists from Victoria (Australia)
People from Ballarat
20th-century Australian painters
20th-century Australian women artists
People educated at Melbourne Girls Grammar
19th-century Australian women
Académie Delécluse alumni
Burials in New South

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