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<mask> (18 November 1736 – 22 June 1813) was an eminent Swiss portrait artist. Among his famous subjects were Friedrich Schiller, Christoph Willibald Gluck, Heinrich von Kleist, Frederick the Great, Friederike Sophie Seyler, Johann Gottfried Herder, Gotthold Ephraim Lessing, Moses Mendelssohn and Christian Felix Weiße. His pupils included Emma Körner, Philipp Otto Runge and Karl Ludwig Kaaz. Life and work

<mask> was born as the seventh child of the craftsman <mask> and <mask> née Koller at Untertorgasse 8 in Winterthur, Switzerland (the house does not exist anymore). In 1753 Graff started studying painting at the art school of Johann Ulrich Schellenberg in Winterthur. After three years he left Winterthur for Augsburg. There he worked with the etcher Johann Jakob Haid.However, only one year later he was forced to leave Augsburg. He was too successful. The members of the local painters guild feared his competition. With a letter of recommendation from Johann Jakob Haid, he moved to Ansbach where he found employment with the court painter Leonhard Schneider until 1759. Graff travelled frequently to Munich to study the paintings in the different collections. In 1759 he went back to Augsburg and later moved to Regensburg. In 1765 he went back to Winterthur and Zurich.It was there where he received an invitation from Christian Ludwig von Hagedorn, the newly appointed Director of the recently established Dresden Art Academy, to apply for a post at the Dresden Art Academy. Graff hesitated to do so. He thought he was not good enough to work for the princely court of Saxony. To give Hagedorn an impression of his talent he sent a self-portrait to Dresden. The self-portrait arrived on 16 January 1766, in Dresden. It was so well received that only one day later Hagedorn worked out <mask>'s employment contract. On 7 April 1766, Graff arrived in Dresden where he was appointed court painter and teacher for portrait painting at the Dresden Art Academy, a post he kept for life although he got better paid offers at other academies, among others in Berlin.In early 1788, the Prussian Minister <mask> von Heynitz made Graff the financially very attractive offer to work for the Prussian Academy of Arts in Berlin. On 7 May 1789, Graff informed Count Camillo Marcolini, general director of the Dresden Art Academy, about this. Marcolini reacted straight away. On 20 June 1789, Graff was appointed Professor for portrait painting at the Dresden Art Academy. Graff made portraits of nearly 1,000 of his contemporaries and was the leading portrait painter in Germany in the late 18th and early 19th century. Graff was also the main portrait painter of German poets between the Enlightenment and the early Romantic periods. Many of them were also his friends, like Johann Wolfgang von Goethe whom he met in Dresden in 1768.Graff was the favourite portrait painter of the German, Russian, Polish and Baltic nobility. Among others he portrayed Stanislaw Kostka Potocki. His most important clients included Catherine the Great of Russia and Frederick the Great of Prussia. His portrait of Frederick the Great is regarded as his masterpiece. The painting is exhibited at Schloss Charlottenburg. Frederick the Great never posed for Graff. However, Graff received authorization to watch Frederick at a military parade in 1781.This gave Graff the chance to study the physiognomy of the King, and was therefore the basis for his portrait. Graff was also very popular with the landed gentry, diplomats, musicians and scholars. He portrayed many of them. While painting a portrait, Graff always focused the light on the person's face. In Graff's portraits it was always the face that got the attention and the light, except when the sitter was a lady. In that case he also focused on the lady's décolleté. Graff was a master of light and shadow.His role model in this context was Ján Kupecký whose works he studied in the collections of Ansbach. In comparison with the calmness of the ladies the gentlemen in his portraits often appear serious and reserved. He also knew how to paint dresses and draperies of different materials and colours in a natural way. His role model in this field was the French court painter Hyacinthe Rigaud. In 1765/66 Graff portrayed Elisabeth Sulzer in a blue silk dress with silver laces and fur collar and borders. In his early years, Graff did hardly ever paint any background details in his portraits. He usually kept the background monochrome.However, in his later years he also paid more attention to the background. Usually he painted the sitter in outdoor surroundings, as was the fashion at that time in England. The price for a portrait by Graff was calculated by size and details of the sitter's clothes. That it was not always easy for Graff to portrait the famous of the time shows the remark he made while painting Friedrich Schiller: "He cannot sit still." Graff was much in demand. He could live a comfortable life with his income. In 1769 Graff met Philipp Erasmus Reich, a well known bookseller and publisher in Leipzig.Reich became a good friend of Graff. He engaged him to portrait his scholar friends. In September 1771, Graff travelled to Berlin and portrayed Gotthold Ephraim Lessing in Johann Georg Sulzer's apartment. Lessing's comment on his portrait was: "Do I really look that terribly nice?" In Berlin Graff also portrayed Moses Mendelssohn and Johann Georg Sulzer, his future father-in-law. In his later years Graff turned to painting landscapes and developed further a sparkling manner of painting that anticipated Impressionism. Philipp Otto Runge and Caspar David Friedrich were influenced by his work.Graff was a sociable person. He cultivated friendships with many of his sitters, business partners and colleagues such as the Polish engraver Daniel Chodowiecki, the Swiss painters Salomon Gessner and Adrian Zingg and the Saxon engraver Johann Friedrich Bause. Bause reproduced many of Graff's portraits as engravings. This made Graff's name and his artworks also well known within the general public. Graff travelled quite often to Berlin. His father-in-law, Johann Georg Sulzer, introduced him to members of the Prussian court. He became very popular with the Prussian nobility and they were good customers of him.He never forgot how well he was received within the Prussian society. In 1778 he closed the short autobiography with the sentence: "Berlin habe ich viel zu verdanken" (I owe Berlin much). On 16 October 1771, <mask> married Elisabetha Sophie Augusta Sulzer, called "Guste". Graff and his wife had 5 children. The first daughter, Johanna Catharina Henrietta, died the same year she was born in 1772. Another daughter was born in 1779 and died only a few months later. His second son, Georg, died in 1801.In 1803 <mask> underwent cataract surgery. His wife Elisabeth died in 1812. <mask> himself died of typhoid fever in the evening of 22 June 1813, at around 8pm in Dresden. He was 76 years old. He left his two surviving children, Caroline Susanne (she married the painter Karl Ludwig Kaaz, a pupil of Graff) and <mask> (he became a landscapist), a fortune of 40,000 Thaler. Graff was buried in Dresden. His tomb does not exist anymore.Graff was a prolific artist. He painted some 2,000 paintings and drawings. His paintings, especially the portraits, are much sought-after. Many of them are in museums and private collections in Switzerland (Museum Oskar Reinhart), Germany (Staatliche Kunstsammlungen Dresden), Russia (Hermitage Museum), Estonia (Kadriorg Palace, Tallinn) and Poland (National Museum, Warsaw). The portraits of gentlemen outnumber the portraits of ladies. In honour of their famous citizen the Berufsbildungsschule Winterthur (BBW) (School for Vocational Training) named their building after Graff. The "Anton-Graff-Haus".In Winterthur and Dresden there are streets named after <mask>f. 2013 jubilee exhibitions take place in the Museum Oskar Reinhart, Winterthur, and in the Old National Gallery in Berlin. Gallery

References

Notes

Bibliography and catalogue
Berckenhagen, Ekhart: <mask> – Leben und Werk. Deutscher Verlag für Kunstwissenschaft, Berlin, 1967 (catalogue raisonné)
 Marc Fehlmann und Birgit Verwiebe (Ed. ): <mask>f: Gesichter einer Epoche. (Exhibition catalogue: Museum Oskar Reinhart, Winterthur; Nationalgalerie – Staatliche Museen zu Berlin.) München: Hirmer, 2013.Further reading
Johann Caspar Füssli: Joh. Caspar Füesslins Geschichte der besten Künstler in der Schweitz. Nebst ihren Bildnissen. Orell, Gessner, Füessli. Zürich, 1769–1779 (5 Bde)
Otto Waser: <mask>f 1736–1813. Huber, Frauenfeld u. Leipzig, 1926
Ernest Giddey, Fribourg (Ed. ): Préromantisme en Suisse?Editions Universitaires, 1982 (Colloques de la Société Suisse  des Sciences Humaines)
Martin Bircher u. Gisold Lammel, Zürich (Hrsg. ): Helvetien in Deutschland. Schweizer Kunst aus Residenzen deutscher Klassik 1770–1830. Zürich, Städtische Galerie zum Strauhof, 1990–91; Schwäbisch Hall, Hällisch-Fränkisches Museum, 1991
Roland Kanz: Dichter und Denker im Porträt. Spurengänge zur deutschen Porträtkultur des 18. Jahrhunderts. Deutscher Kunstverlag, München, 1993
Jane Turner (Editor): The Dictionary of Art (34 volumes).Macmillan (London); Grove (New York), 1996

External links

1736 births
1813 deaths
18th-century Swiss painters
Swiss male painters
19th-century Swiss painters
Swiss portrait painters
People from Winterthur
Swiss expatriates in Germany
19th-century male artists
Dresden Academy of Fine Arts faculty

masks:
Anton Graff
Anton Graff
Ulrich Graff
Barbara Graff
Graff
Friedrich Anton
Anton Graff
Graff
Graff
Carl Anton
Anton Graf
Anton Graff
Anton Graf
Anton Graf


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<mask> (Varsseveld, the Netherlands 12 June 1863 – Amsterdam, the Netherlands 12 January 1953) was a pastry chef who became the first chairman of the board of directors of the first Dutch Vocational School for Pastry Chefs, established in 1924 in Amsterdam and since 1956 named "De Berkhoff". <mask> became well-known when he presented a traditional English wedding cake to Queen Wilhelmina (1880–1962) and Prince Henry (1876–1934) on the occasion of their marriage in 1901. Henceforth, the wedding cake became standard issue in Dutch wedding festivities. His "Pâtisserie and Refreshment Room" in the Leidsestraat was a household word in and outside Amsterdam, for over seventyfive years. Training
The son of <mask> (1821–1913) and Harmina Kreeftenberg (1834–1913), <mask> belonged to a family of bakers. His father, grandfather and great-grandfather were not only bread bakers, but following the custom of their time, they specialized in other products as well, such as gingerbread, sponge cake and pastry making. <mask> decided on a career as a Pastry Chef.After 1879 he began developing and enhancing his skills by starting apprenticeships with various well-known konditoreis and pâtisseries in Dresden, Zurich and Paris. For the final stage of his education, organized by himself, as a Pastry Chef, he trained at Gerstner’s in Vienna. The konditorei was considered thé top among pâtissiers and was Royal Warrant Holder of the Imperial House of Habsburg. Eerste Constantijn Huygensstraat 104 en Leidsestraat 46
After having worked for some years as a shop assistant in Amsterdam, <mask> opened his own pastry shop in the Eerste Constantijn Huygensstraat 104 in 1893. As Confiseur-Cuisiner, <mask> aimed at the more sophisticated pastry work. He further started his own catering business, serving lunches, dinners and suppers to private people. In 1908 he served dinner for 450 persons in the Concert Hall, for the International Congress of Woman Suffrage.In 1906 Berkhoff opened a second pastry shop in the Leidsestraat 46. The adjoining "Refreshment Room" had international stature and was widely known among the better-off classes. In 1944 the business was sold to Kees Goetheer, under whose supervision it continued until 1985 as "Berkhoff's Pâtisserie and Tearoom". Queen Wilhelmina's wedding cake

On the occasion of the marriage of Queen Wilhelmina (1880–1962) and Prince Henry (1876–1934) in 1901, <mask> took the initiative of presenting a wedding cake to the royal couple. In England in the second half of the nineteenth century, the royal wedding cake was considered as the "flagship of British pastry enterprise", but in the Netherlands of the time the custom was unknown. <mask>´s presentation of a wedding cake to the royal couple gained him ánd the craft of Pâtissier fame. The wedding cake for the marriage of Princess Juliana and Prince Bernhard in 1937, was made by J. Jongert, teacher at the NADPC Vocational School for Pastry Chefs "De Berkhoff".NADPC Vocational School for Pastry Chefs "De Berkhoff"
As a member of the National Association of Dutch Pastry Chefs (NADPC) established in 1885 in Amsterdam, <mask> committed himself to the organization of an apprentice system for future pastry chefs, which had been lacking up till then. After its initial success, the in 1907 established training system and its regulations had proven to be substandard. Meanwhile, the membership figure of the NADPC had nationwide increased sharply, so the board of directors was split into a central board of directors and a local division "Amsterdam", under the supervision of <mask>. In this quality <mask> became the driving force behind the start of a National Vocational School for Pastry Chefs in Amsterdam, the first of its kind in Europe. In 1924, the National Vocational School for Pastry Chefs, supported by grants, both from the National Government and the Amsterdam Local Council, opened its doors on Quellijnstraat 80. In this purpose-built building, students were not only taught vocationally based skills, but also Dutch and modern languages, bookkeeping, commercial arithmetic, penmanship and design. In its senior forms subjects taught, were: food science, legal knowledge, financial management and business management.The school-building also housed the historical collection of the NADPC, which consisted of literature, cookery books, menus and tools. From 1924 to 1933 <mask> would act as chairman of the school’s board of governors. After the school had moved to its present location on the Wibautstraat 220-222 in 1956, its name was changed into "De Berkhoff", in honour of its chairman. As chairman of the central board of directors of the NADPC (1927–1934), and editor of the trade journal The Pastry Shop (1935–1942), <mask> continued to play an important role in Pâtissiers circles for a long time. His efforts to achieve international cooperation among pâtissiers, were rewarded by his appointments as honorary member of the Belgian and French sister organisations. Royal Honours
 Knight of the Order of Orange-Nassau (1933)

References

Notes

Printed sources, Literature, Articles and Internet-publications. Algemeen Handelsblad (AH) (Amsterdam; national newspaper; 1828–1970), archived from: http://kranten.kb.nl
  Barneveld, D., The old Pastry Shop (De oude banketbakkerij) (Bussum 1968)
  Barneveld, D., `W. Berkhoff Chairman of the Central Board of Directors 1927-1934 (W. <mask>.Voorzitter Hoofdbestuur 1927-1934)´, in: The Pastry Shop: Trade Journal for Pâtissiers (De Banketbakkerij. Vakblad voor Banketbakkers) 00 (ca. 1953), pag. 0
  `<mask>, <mask>´, in: The Dutch Knighthoods. 1900-1936 (De Nederlandsche Ridderorden. 1900-1936) 9 (TDK) (Amsterdam 1937), pag. 565
  <mask>, W.(sam. ), `National Association of Dutch Pastry Chefs 50 Years (Nederlandsche Banketbakkersvereeniging 50 Jaar)´, in: The Pastry Shop: Trade Journal for Pâtissiers (De Banketbakkerij. Vakblad voor Banketbakkers) Jubilee Number (Jubileumuitgave) (1935)
  Het Nieuws van den Dag (HNVDD) (Amsterdam; local/regional newspaper 1870-1923), op website: http://kranten.kb.nl (consulted 1870-1914)
  Het Vaderland (HV) (The Hague; national newspaper; 1869–1945), archived from: http://kranten.kb.nl
  Nieuwe Rotterdamsche Courant (NRC) (Rotterdam; national newspaper; 1844–1970), archived from: http://kranten.kb.nl
  Rijgers, G. (sam. ), `National Association of Dutch Pastry Chefs 25 Years (Nederlandsche Banketbakkersvereeniging 25 Jaar)´, in: The Pastry Shop: Trade Journal for Pâtissiers (De Banketbakkerij. Vakblad voor Banketbakkers) Jubilee Number (Jubileumuitgave) (1910)
  `Glorious meals of the past. Visiting an old school Pastry Chef (Van luisterrijke maaltijden die tot het verleden behoren.Bij een bezoek aan een banketbakker uit de oude school)´, in: Libelle 8 (1949), pag 8-9
  Wageningen, E. van, `Berkhoff´s Pastry. Sweet dreams of sugar, cream and chocolate (Banket van bakker Berkhoff. Zoete dromen van suiker, room en chocola)´, in: Our Amsterdam (Ons Amsterdam) (1993), pag. 94-97. Wageningen, E. van, `<mask>´s Pâtisserie and Tearoom 1893-1985 (Berkhoff Patisserie Tearoom 1893-1985)´, archived from: http://www.winkelstories.com/Berkhoff00.html
  Wijers, H., `Mister W. Berkhoff 80 years old (De heer W. Berkhoff 80 jaar)´, in: The Pastry Shop: Trade Journal for Pâtissiers (De Banketbakkerij. Vakblad voor Banketbakkers) 00 (1943), pag. 0
  Wijers, H., `Obituary W. <mask> (In memoriam W. Berkhoff)´, in: The Pastry Shop: Trade Journal for Pâtissiers (De Banketbakkerij.Vakblad voor Banketbakkers) 41 (1953), pag. 1
  Zeijden, A. van der, `History of the wedding cake (Geschiedenis van de bruidstaart)´, in: Tradition (Traditie) 3 (2006), archived from: http://www.albertvanderzeijden.nl/geschiedenis_van_de_bruidstaart_.htm

1863 births
1953 deaths
Pastry chefs
History of Amsterdam
People from Oude IJsselstreek
Dutch chefs

masks:
Willem Berkhoff
Berkhoff
Cornelis Berkhoff
Berkhoff
Berkhoff
Berkhoff
Berkhoff
Berkhoff
Berkhoff
Berkhoff
Berkhoff
Berkhoff
Berkhoff
Berkhoff
Berkhoff
Berkhoff
Willem
Berkhoff
Berkhoff
Berkhoff


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<mask> (February 3, 1925 – June 25, 2005) was an American actor. His career lasted more than 55 years in stage, film, television and radio. Among his best-known roles are the meek, nervous, and unpretentious Juror 2 in 12 Angry Men (1957); the benign-seeming gentleman who tries to prevent the Younger family from moving into a whites-only neighbourhood in A Raisin in the Sun (1961); the voice of Piglet in Disney's Winnie the Pooh productions; Vinnie, one of Oscar's poker cronies in the film The Odd Couple (1968); and Emil Peterson, the hen-pecked milquetoast husband on The Bob Newhart Show. Early life
<mask> was born in Platteville, Wisconsin, a son of beer salesman <mask> and his wife Margaret (née Phelan). He was of German and Irish descent. His family moved to Shorewood, Wisconsin in 1930, where he graduated from Shorewood High School in 1943. He enlisted in the United States Navy and served until the end of World War II.Career

After his discharge from the Navy, <mask> began acting in Manhattan, New York City, appearing on the radio comedy The Aldrich Family as Homer Brown. He appeared on early television and played Cadet Alfie Higgins on the 1950s show Tom Corbett, Space Cadet, and he made his film debut in 12 Angry Men (1957), as Juror 2. Most of his roles were playing gentle or nervous individuals, though he appeared as the lawyer J. Noble Daggett in True Grit (1969) and in the original Star Trek episode "Wolf in the Fold" (1967) as Mr. Hengist, a Chief Administrator possessed by the spirit of Jack the Ripper. <mask> was in the original cast of A Raisin in the Sun as housing committee representative Lindner, a role he also played in both the 1961 film version and the 1988 TV version. He appeared in the film The Odd Couple (1968) as poker player Vinnie; he also appeared on the TV series adaptation The Odd Couple, at the invitation of his friend Jack Klugman, as the manager of a hyper-security building into which Felix and Oscar temporarily moved and as the cruel owner of a "Hollywood" dog. He also appeared in the films Harper Valley PTA (1978) and The Cannonball Run (1981). He appeared three times in a recurring role on Kolchak: The Night Stalker as morgue attendant Gordy "The Ghoul" Spangler.He also played Mr. Peterson, one of Bob's regular patients, on The Bob Newhart Show, and Mr. Dundee in an episode of the Twilight Zone, "The Night of the Meek" (1960). His many other guest appearances on TV included Columbo, Peter Gunn, Alfred Hitchcock Presents, Perry Mason, Bonanza, Gunsmoke, My Favorite Martian, Bewitched, Get Smart, Star Trek, A Touch of Grace, The Rockford Files, Three’s Company, Quincy, M.E., The Golden Girls, Banacek and Cheers. He also appeared in The Munsters. <mask> worked frequently for Walt Disney Productions. His voice was heard in the Disney features Robin Hood (1973), The Rescuers (1976), The Fox and the Hound (1981), and The Emperor's New Groove (2000), and in Disneyland Records' Winnie the Pooh for President. He voiced the character Piglet for the studio's The Many Adventures of Winnie the Pooh (1977), The Tigger Movie (2000), Piglet's Big Movie (2003), Pooh's Heffalump Movie (2005). He  appeared in Disney's live-action films Rascal (1969) and The Shaggy D.A.(1976). His last film was a voice appearance in Kronk's New Groove (2005) and in the Square Enix/Disney video game Kingdom Hearts. Fiedler was also the narrator of several McDonaldland commercials during the 1980s, including when Birdie the Early Bird learns to fly and how the Hamburglar got his stripes. <mask> died of cancer on June 25, 2005, at the age of 80, in Englewood, New Jersey, at the Lillian Booth Actors Home, a residence for retired entertainers sponsored by the Actors' Fund of America. He was cremated and his ashes were scattered on Long Island, New York. Filmography

Lust for Gold (1949) as Barber (uncredited)
12 Angry Men (1957) as Juror 2
Sweet Smell of Success (1957) as Counterman at Hot Dog Stand (uncredited)
Stage Struck (1958) as Adrian
That Kind of Woman (1959) as Eager Soldier (uncredited)
A Raisin in the Sun  (1961) as Karl Lindner
That Touch of Mink (1962) as Mr. Smith
The World of Henry Orient (1964) as Sidney
Kiss Me, Stupid (1964) as Rev. Carruthers
Guns of Diablo (1965) as Ives
Girl Happy (1965) as Mr. Penchill
A Fine Madness (1966) as Daniel K. Papp
The Ballad of Josie (1967) as Simpson
Fitzwilly (1967) as Mr. Morton Dunne
The Odd Couple (1968) as Vinnie
Winnie the Pooh and the Blustery Day (1968) as Piglet (voice)
Rascal (1969) as Cy Jenkins
True Grit (1969) as Lawyer Daggett
The Great Bank Robbery (1969) as Brother Dismas Ostracorn - Explosives
Suppose They Gave a War and Nobody Came (1970) as Maj. Purvis
Making It (1971) as Ames
The Out of Towners (1971) as conductor on train
Honky (1971)
Skyjacked (1972) as Robert Grandig
Deathmaster (1972) as Pop
Robin Hood (1973) as Father Sexton (voice, uncredited)
Winnie the Pooh and Tigger Too (1974) as Piglet (voice)
The Fortune (1975) as Photographer
The Shaggy D.A.as Gunnar
Get Smart as KAOS agent Mr. Hercules (1967, episode "Classification: Dead") and as KAOS agent Felix (1969, episode "Age Before Duty")
Star Trek (1967, episode "Wolf in the Fold") as Administrator Hengist
Bewitched as Fergus F. Finglehoff (1967, episode "Nobody But a Frog Knows How to Live"), Mr. Beams (1969, episode "Marriage Witch's Style"), Silas Bliss Jr. (1969, episodes "Darrin the Warlock" and "Daddy Comes to Visit"), Augustus Sunshine (1970, episode "Turn on That Old Charm"), and Spengler (1971, episode "Three Men and a Witch on a Horse")
Death Valley Days (1968, episode "The Great Diamond Mines") as prospector <mask>lack
The Felony Squad (1968, episode "Man on Fire") as B.G. as Taylor
Mobile One (1975, episode "The Crusader") as Walter James
Phyllis (1975, episode "So Lonely I Could Cry") as Willis Enwright
The Lost Saucer (1975, episode "Land of the Talking Plants") as Chloro Phil
Jigsaw <mask> (1976, episode "The Executioner") as Father Damis
Ark II (1976, episode "The Cryogenic Man") as Norman Funk
Alice as Orville (1976, episode "Vera's Mortician," and 1977, episode "Mel's Happy Burger")
Three's Company (1977, episode "Jack Looks for a Job") as Morris Morris
Switch (1977, episode "Dancer") as Harry Winkler
Tabitha (1977, episode "Arrival of Nancy") as Max
The Rockford Files (1978, episode "The Competitive Edge") as James Bond
Fantasy Island as Mortimer Fox (1978, episode "Trouble, My Lovely/The Common Man") and "Ace" Smith (1978, episode "Carnival/The Vaudevillians")
Quincy, M.E. as Howard Clausen (1978, episode "Matters of Life and Death") and Mr. Weiss (1979, episode "For the Benefit of My Patients")
Vega$ (1979, episode "Demand and Supply") as S.J.

masks:
John Donald Fiedler
Fiedler
Donald Fiedler
Fiedler
Fiedler
Fiedler
Death Fiedler
Johnny S
John


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<mask> (; 16 December 1922 – 20 April 2019) was an Iranian artist and a collector of traditional folk art. She is noted for having been one of the most prominent Iranian artists of the contemporary period, and she was the first artist to achieve an artistic practice that weds the geometric patterns and cut-glass mosaic techniques (Āina-kāri) of her Iranian heritage with the rhythms of modern Western geometric abstraction. In 2017, the Monir Museum in Tehran, Iran was opened in her honor. Early life and education
<mask> was born on December 18, 1922, to educated parents in the religious town of Qazvin in north-western Iran. Farmanfarmaian acquired artistic skills early on in childhood, receiving drawing lessons from a tutor and studying postcard depictions of western art. After studying at the University of Tehran at the Faculty of Fine Art in 1944, she then moved to New York City via steamboat, when World War II derailed her plans to study art in Paris. In New York, she studied at Cornell University, at Parsons The New School for Design, where she majored in fashion illustration, and at the Art Students League of New York.Career
As a fashion illustrator, she held various freelance jobs, working with magazines such as Glamour before being hired by the Bonwit Teller department store, where she made the acquaintance of a young Andy Warhol. Additionally, she learned more about art through her trips to museums and through her exposure to the 8th Street Club and New York's avant-garde art scene, becoming friends with artists and contemporaries Louise Nevelson, Jackson Pollock, Willem de Kooning, Barnett Newman, and Joan Mitchell. First return to Iran
In early 1957, Farmanfarmaian moved back to Iran. Inspired by the resident culture, she discovered "a fascination with tribal and folk artistic tradition" of her country's history, which "led her to rethink the past and conceive a new path for her art." In the following years, she would further develop her Persian inspiration by crafting mirror mosaics and abstract monotypes. Meanwhile her work was featured at the Iran Pavilion in the 1958 Venice Biennale, and holding a number of exhibitions in places such as Tehran University (1963), the Iran-America Society (1973), and the Jacques Kaplan/Mario Ravagnan Gallery (1974). Exile and return to Iran
In 1979, <mask> and her second husband, Abol-Bashar, traveled to New York to visit family.Around the same time, the Islamic Revolution began, and so the Farmanfarmaians found themselves exiled from Iran, an exile that would last for over twenty years. Farmanfarmaian attempted to reconcile her mirror mosaics with the limited resources offered in America, but such lacking materials and comparatively inexperienced workers restricted her work. In the meantime, she placed larger emphasis on other aspects of her art, such as commissions, textile designs, and drawing. Third return to Iran and death
In 1992, Farmanfarmaian returned to Iran and later, in Tehran in 2004, she reaffirmed her place among Iran's art community, gathering both former and new employees to help create her mosaics. She continued to live and work in Tehran until her death. On 20 April 2019 Farmanfarmaian died at her home at the age of 96. Artwork
Aside from her mirror work (a technique known as Āina-kāri), Farmanfarmaian is additionally known for her paintings, drawings, textile designs, and monotypes.Mirror mosaics
Around the 1970s, <mask> visited the Shah Cheragh mosque in Shiraz, Iran. With the shrine's "high-domed hall ... covered in tiny square, triangular, and hexagonal mirrors," similar to many other ancient Iranian mosques, this event acted as a turning point in <mask>'s artistic journey, leading to her interest in mirror mosaic artwork. In her memoir, <mask> described the experience as transformative: "The very space seemed on fire, the lamps blazing in hundreds  of thousands of reflection ... It was a universe unto itself, architecture transformed into performance, all movement and fluid light, all solids fractured and dissolved in brilliance in space, in prayer. I was overwhelmed. "Aided by the Iranian craftsman, Hajji Ostad Mohammad Navid, she created a number of mosaics and exhibition pieces by cutting mirrors and glass paintings into a multitude of shapes, which she would later reform into constructions which evoked aspects of Sufism and Islamic culture. Āina-kāri is the traditional art of cutting mirrors into small pieces and slivers, placing them in decorative shapes over plaster.This form of Iranian reverse glass and mirror mosaics is a craft traditionally passed on from father to son. Farmanfarmaian, however, was the first contemporary artist to reinvent the traditional medium in a contemporary way. By striving to mix Iranian influences and the tradition of mirror artwork with artistic practices outside of strictly Iranian culture, "offering a new way of looking at ancient aesthetic elements of this land using tools that are not limited to a particular geography," Farmanfarmaian was able to express a cyclical conception of spirituality, space, and balance in her mosaics. Personal life
<mask> married Iranian artist Manoucher Yektai in 1950. They divorced in 1953, and in 1957, she returned to Tehran to marry lawyer Abolbashar <mask>. In 1991, Abolbashar died of leukemia. She has two daughters, Nima and Zahra.While living in Iran, <mask> was also an avid collector. She sought out paintings behind glass, traditional tribal jewelry and potteries, and amassed one of the greatest collections of "coffee-house paintings" in the country—commissioned paintings by folk artists as coffee-house, story-telling murals. The vast majority of her works and her collections of folk art were confiscated, sold or destroyed. Exhibitions
<mask>'s work has been publicly exhibited in museums, including: Boston's Museum of Fine Arts, Victoria & Albert Museum, London (2006 & 2009), Niyavaran Cultural Centre, Tehran (2007), Leighton House Museum (2008),Beirut Exhibition Centre (2011), Museum of Modern Art (MoMA), Solomon R. Guggenheim Museum, Grand Rapids Art Museum, Haus der Kunst, Irish Museum of Modern Art (IMMA), Zentrum Paul Klee, Savannah College of Art and Design Museum and more. Her work has been shown in private galleries including, Rose Issa Projects, London; The Third Line, Dubai; New York; Grey Art Gallery, New York University; Galerie Denise Rene, Paris and New York; Lower Belvedere, Vienna; and Ota Fine Art, Tokyo. <mask> participated in the 29th Bienal de São Paulo (2010); the 6th Asia Pacific Triennial of Contemporary Art, Brisbane (2009); and the Venice Biennale (1958, 1966 and 2009). In 1958 she received the Venice Biennale, Iranian Pavilion (gold medal).Suzanne Cotter curated <mask>'s work for her first large museum retrospective titled 'Infinite Possibility: Mirror Works and Drawings''' which was on display at the Serralves Museum (also known as Fundação de Serralves) in Porto, Portugal (2014-2015) and then the exhibition travelled to the Solomon R. Guggenheim Museum in New York City (2015). This was her first large US museum exhibition. Commissioned installations
Major commissioned installations include work for the Queensland Art Gallery (2009), the Victoria and Albert Museum (2006), the Dag Hammerskjold building, New York (1981) and the Niyavaran Cultural Center (1977–78), as well as acquisitions by the Metropolitan Museum of Art, The Tehran Museum of Contemporary Art, and the Museum of Contemporary Art Tokyo. Collections
<mask>'s work is included in multiple public art collections worldwide, including: Victoria & Albert Museum;  The British Museum;  the Metropolitan Museum of Art, Museum of Contemporary Art Chicago, Museum of Fine Arts, Houston, Tate Modern, Queensland Art Gallery, and others. In December 2017, the Monir Museum opened in Negarestan Park Gardens in Tehran, Iran, and is dedicated to showcasing <mask>'s works. With a collection of 51 works donated by the artist, the Monir Museum collection is managed by the University of Tehran. In popular culture
<mask> was named as one of the BBC's "100 Women" of 2015.Bibliography
The first monograph on <mask> <mask> <mask>, Mirror Mosaics, was edited by Rose Issa, and published by Nazar, Tehran 2006; Heartaches, edited by Rose Issa, Nazar publishing, Tehran (2007). <mask>'s memoir is titled A Mirror Garden: A Memoir was co-authored by Zara Houshmand (Knopf, 2007). ;; Her work is documented in Iranian Contemporary Art, Barbican  Art Centre, Booth Clibborn, 2001;  Zendegi, 11 Iranian Contemporary Artists, Beirut Exhibition Centre, 2011 the book, Monir Shahroudy Farmanfarmaian: Cosmic Geometry (Damiani Editore & The Third Line, 2011), which features in-depth interview by Hans Ulrich Obrist, and critical essays by Nader Ardalan, Media Farzin and Eleanor Sims, tributes by Farmanfarmaian's friends Etel Adnan, Siah Armajani, caraballo-farman, Golnaz Fathi, Hadi Hazavei, Susan Hefuna, Aziz Isham, Rose Issa, Faryar Javaherian, Abbas Kiarostami, Shirin Neshat, Donna Stein and Frank Stella. She is referenced in an excerpt from The Sense of Unity: The Sufi Tradition in Persian Architecture by Nader Ardalan and Laleh Bakhtiar (1973), and an annotated timeline of <mask>'s life by Negar Azimi. Women in Abstraction, Centre Pompidou, (2021). Film
The film Monir'' (2014) directed by Bahman Kiarostami, is a documentary about <mask>'s life and work. References

External links
 ArtForum magazine interview with Monir Shahroudy Farmanfarmaian
 Monir Shahroudy Farmanfarmaian Interview from 2010 with ArtAsiaPacific at the Metropolitan Museum of Art

 Mohammed Afkhami, Sussan Babaie, Venetia Porter, Natasha Morris."Honar: The Afkhami Collection of Modern and Contemporary Iranian Art." Phaidon Press, 2017. .

1922 births
2019 deaths
20th-century Iranian women artists
21st-century Iranian women artists
20th-century art collectors
21st-century art collectors
People from Qazvin
Iranian contemporary artists
Iranian emigrants to the United States
Iranian women painters
Parsons School of Design alumni
University of Tehran alumni
Cornell University alumni
Mosaic artists
Mathematical artists
BBC 100 Women
Iranian art collectors
Farmanfarmaian family

masks:
Monir Shahroudy Farmanfarmaian
Shahroudy
Farmanfarmaian
Farmanfarmaian
Farmanfarmaian
Farmanfarmaian
Farmanfarmaian
Farmanfarmaian
Farmanfarmaian
Farmanfarmaian
Farmanfarmaian
Farmanfarmaian
Farmanfarmaian
Farmanfarmaian
Farmanfarmaian
Monir
Shahroudy
Farmanfarmaian
Farmanfarmaian
Farmanfarmaian
Farmanfarmaian


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Themistoklis "<mask>" <mask> (; born 17 September 1973) is a Greek former professional footballer who played as a striker. He was the forty second president of AEK Athens, and is considered one of the finest footballers Greece has produced. In his early childhood and teenage years he lived in the city of Alexandroupoli, in the northeast part of Greece. In a sterling career with Ethnikos Alexandroupolis, Apollon Smyrnis, AEK Athens and Atlético Madrid, <mask> earned his reputation as a "born goalscorer", scoring prolifically for club and country. His power, pace and skill on the ball have been widely praised. Club career

AEK Athens
In his teenage years he played for Ethnikos Alexandroupolis, the local team of his hometown. The scouts of several teams had seen his progress from these years, earning him a move to Athens.He made his professional debut at the age of 20 at Apollon Smyrnis, and his performances sparked a bidding war between Panathinaikos and Olympiacos, and the striker's childhood favorite AEK Athens. <mask> refused to join Olympiacos and forced his club president to sell him to AEK. At AEK, <mask> linked up with some of the great Greek players of his generation, including Vassilis Tsiartas, Theodoros Zagorakis, Michalis Kapsis, Grigoris Georgatos, Traianos Dellas, Vassilis Lakis. With his new side, <mask> excelled, scoring on his debut against Ionikos. During his time with AEK, <mask> managed to win three Greek cups and the 1996 Super Cup, he was the topscorer in the 1999 Greek league and second scorer in the 2001 UEFA Cup (1 goal behind topscorer Dimitar Berbatov). He is the top scorer for Greek teams in European competitions having scored 26 goals in 51 games. He has scored five goals in a match twice and is the only Greek player to have scored 4 goals in a European match.Having scored a total of 21 goals in the UEFA Cup he is one of the competition's all-time topscorers. At AEK he scored 190 goals in 266 games (including European, cup and domestic league games) making him the fourth highest goalscorer for the club. On 24 March 2002, the International Committee for Fair Play awarded him with the Fair Play Award, an honorary diploma for his conduct in the Greek Cup Final on 8 May 2000, between the teams of AEK Athens and Ionikos, when <mask> informed the referee he had used his hand to score a goal that had been allowed as valid. Atlético Madrid
After quarrelling with owner Makis Psomiadis, later indicted for forgery, and allegedly being assaulted by his bodyguards, <mask> decided the time had come to leave AEK after the 2002–03 season. He asked and left the team in a mutual consent free transfer, although he was already paid for the rest of his contract. Atlético Madrid beat several other clubs to land the striker's coveted signature. Seeing that his number 11 was taken, he wore the number 21 as a tribute to AEK and the Original 21 fan club.<mask>' first months at the Vicente Calderón Stadium were a tremendous success, he scored six goals and formed a fearsome attacking pair with teenage sensation Fernando Torres. However, a series of serious injuries kept him out of the first team for nearly the rest of the season and severely affecting his chances of getting picked for Euro 2004. Although Atletico wanted to keep him to the roster of the team, <mask> decided to retire from professional football. International career
<mask> made his debut for the Greek national football team on 26 April 1995 against Russia. <mask> became the Greek national team's main source of goals. In 1999, however, along with Michalis Kasapis and Ilias Atmatsidis, <mask> retired from the national team, protesting for injustice in the Greek League. Two years later, after the disappointing tenure of coach Vasilis Daniil was brought to an end after disappointing results, he returned to the international fold.In his first game back, <mask> scored in Greece's 2–2 away draw to England during the 2002 World Cup qualifiers. New coach Otto Rehhagel focused his offense around the quick striker and was rewarded with direct qualification to the Greek team to represent Greece at Euro 2004. Even though struggling with injury, Rehhagel nevertheless included him in his Euro 2004 squad. Greece's new strike force, Zisis Vryzas and Angelos Charisteas, played well enough but <mask> still figured consistently in the team, coming off the bench in all three group games before starting against France, and leading Greece to a tremendous shock victory. After that performance, however, <mask> was seriously injured and did not even dress for Greece's last two games. He amassed 54 caps, netting 17 times for the national team and is among the top 6 goalscorers ever for Greece. Chairman of AEK Athens
With AEK struggling in the wake of Psomiadis' corruption and the prospect of relegation to the fourth division looming, <mask> retired at the relatively young age of 31.His next move, supported by all AEK fans, was to establish a consortium of businessmen and purchase AEK on 27 May 2004, as he had always dreamed. Becoming the club's president, <mask> set a goal that he would remove all debts that AEK owed and make them a force in Europe in the space of five years. He and technical director Ilija Ivić, a former teammate, made several clever signings and fought ferociously for the league title, finishing third when many had expected a mid-table performance. In his second year as president, after signing two promising Greece Under-21 players, as well as adding former star Vasilis Lakis, Ukrainian international striker Oleh Venhlinskyi and one time Inter centre back Bruno Cirillo, AEK achieved UEFA Champions League qualification. Apart from the improvement of the economic standards and the athletic performance of AEK, <mask> called upon the league to do more to reduce violence and hooliganism. On 2 November 2008, <mask> decided that he would quit as chairman of AEK after continuously poor results, stating that he had not achieved his goal in the 5 years plan. <mask> said one of his reasons for quitting was that the team didn't sell 30,000 season tickets; he stated "If I had managed to convince the AEK supporters to come to the stadium then I would not be leaving.In my mind we need 30,000 to become a big team". During <mask>'s presidency, AEK had their first wins in Champions' League and the club made about 12,000,000 euros from selling players to other teams (like Kostas Katsouranis, Sokratis Papastathopoulos, Dániel Tőzsér, Sotirios Kyrgiakos etc.). Personal life
<mask> was married to a Greek singer Despina Vandi who was also born in Germany and grew up in Greece. They have a daughter named Melina (2004), and a son named Giorgos (2007). A Discovery Channel documentary entitled Europe's Richest People estimated <mask> and Vandi's combined fortune to be in excess of €25 million in 2014.. The couple announced their divorce on 15 July 2021

Career statistics

Club

International

Scores and results list Greece's goal tally first, score column indicates score after each <mask> goal. Honours
AEK Athens
 Greek Cup: 1996–97, 1999–2000, 2001–02
 Greek Super Cup: 1996

Greece
 UEFA European Championship: 2004

Individual
 Greek Young Footballer of the year: 1995
 Greek Footballer of the year: 1997, 1998, 2002
 Greek Super League top scorer: 1999
 Fair Play Diploma for Act of Fair Play: 2002

Records
 He is the second Greek goalscorer in European competitions scoring a total of 26 goals.He is one of the few player who have scored five goals in a single Greek Super League game. He did so in AEK Athens' 6–1 win against Kalamata during the 1996–97 season. He scored Greece's 500th goal on 6 October 2001 in a match against England. References

1973 births
Living people
People from Giessen
People from Alexandroupoli
German people of Greek descent
German expatriates in Spain
Greek footballers
Greece international footballers
Greek expatriate footballers
Greek expatriate sportspeople in Spain
Association football forwards
AEK Athens F.C. players
AEK Athens F.C. chairmen
Atlético Madrid footballers
Apollon Smyrnis F.C. players
Greek football chairmen and investors
La Liga players
UEFA Euro 2004 players
UEFA European Championship-winning players
Super League Greece players
Footballers from Hesse

masks: Demis Nikolaidis Nikolaidis Demis Nikolaidis Nikolaidis Demis Nikolaidis Nikolaidis Nikolaidis Nikolaidis Demis Demis Nikolaidis Nikolaidis Nikolaidis Nikolaidis Nikolaidis Nikolaidis Nikolaidis Demis Nikolaidis Nikolaidis Demis Nikolaidis Nikolaidis


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<mask> (born 26 January 1991) is an Italian-American professional basketball player for Olimpia Milano of the Italian LBA and Euroleague. He also represents the senior Italian national team. He mainly plays at the power forward position, but he has also played at center. <mask> earned an All-EuroLeague Second Team selection in 2017. Youth career
The Reggio Emilia native started his career with home town side Pallacanestro Reggiana. After an accumulation of injuries <mask> was called up to train with the senior team in October 2004, at only 13. He sat on the bench during a 24 October league game (an age record) though he did not play and returned to the youth teams afterwards.In October 2006 he participated in the Italian leg of the Jordan Classic Camp international tour, regrouping a selection of the thirty most promising under-16 players, with the MVP earning a trip to the American edition of the camp. <mask> was selected as co-MVP, meeting Michael Jordan and going to the U.S. in April 2007. He talked of recruiting interest from American college UCLA during the same period. Professional career

Pallacanestro Reggiana
In August 2007, he signed a five-year professional contract with Pallacanestro Reggiana and started training with the first team. The same year, in October, the 16-year-old debuted in the Italian national second division LegaDue. In May 2008, during the promotion semi-finals against Aurora Basket Jesi, he replaced injured starter Benjamin Ortner and contributed 16 points and 15 rebounds in a losing effort. He finished the season playing an average of 10.6 minutes with 3.4 points and 2.9 rebounds.During the off-season, the 17-year-old participated in the Reebok Eurocamp in Treviso but did not make an impression on observers (albeit playing against older players, sometimes by five years). He also returned to the U.S., attending the Adidas Nations that pitted international teams of promising youngsters. Though he was praised by an observer for his work ethic, it was also noted that his game (and lack of athleticism) was unsuited to the American game. <mask> started the next season in great form, with 12 points and 18 rebounds followed by 24 points in two games, however, on 21 December 2008, Melli suffered a serious knee injury. Scans revealed an anterior cruciate ligament injury on his left knee, requiring surgery and at least five months of rehabilitation though he would be able to continue his career. He returned to action in 2009–10 as a starter; he averaged 10.7 points and 7.1 rebounds in 28 minutes, though he missed the promotion playoffs because of a shoulder injury. Olimpia Milano

2010–11 season
On the radar of strong sides for some time, <mask> joined Armani Jeans Milano, of the elite domestic Serie A and European EuroLeague in July 2010, signing a four-year deal.After struggling to earn minutes, Melli was loaned to fellow Serie A side Scavolini-Siviglia Pesaro in February 2011. A month later he returned to Milan, to take part in the Italian All Star Game where he contributed 12 points for Italy. Melli finished the 2010–11 season with 3.8 points, 3.3 rebounds and 1.1 steals in 16 minutes per game for Pesaro (compared with 9 minutes for Milan previously). 2011–12 season
The next season saw Melli accrue slightly more playing time but despite some highlights, such as a team-high 17 points in a EuroLeague Group G defeat against UNICS Kazan, he finished the regular season with 3.4 points and 2.7 rebounds in 11 minutes per game (Serie A) and  3.8 points and 1.9 rebounds in 9 minutes per game (EuroLeague). He had more impact in the Serie A playoffs, including decisive performances in the semi-final game 3 against former side Pesaro (5 points in 19 minutes and a good defensive performance, with 7 rebounds, 2 steals and 1 block) and then in game 4 of the finals against future champions Montepaschi Siena where he was part of a second-half fightback to win the game, finishing with 11 points and 4 rebounds in 13 minutes. 2012–13 season
In 2012–13, Melli increased his averages to 5.8 points and 4.1 rebounds (Serie A), 4.6 points and 3 rebounds (EuroLeague), and his minutes to respectively 17 and 15 in a season nearly devoid of highlights both personally and for Milan (eliminated in the domestic quarterfinals and the EuroLeague regular season). An exception was his third successive participation in the December Italian league All-Star Game, in which he top-scored along with Milan teammate Alessandro Gentile (18 points), adding a game-best 10 rebounds.During the summer, he worked out with a number of NBA sides, with an observer commenting that he seemed too light physically for the league, he would go undrafted in the 2013 NBA draft. 2013–14 season
2013–14 proved to be <mask>'s breakthrough season, with his good performances becoming more regular as he cemented his place in Milan's starting five. The first of those decisive contributions came in Milan's second EuroLeague game of the season against Žalgiris, where Melli scored a career-high 20 points, adding 9 rebounds and 2 steals in 25 minutes to earn a PIR of 28. During the decisive 74–73 victory against Brose Bamberg in the penultimate group stage game, he defended Wright as he missed the Brose's last shot which allowed Milan to progress to the Top 16. Though he lad less impact further on as Milan reached the EuroLeague quarterfinals, Melli finished with respectable averages of  5.3 points, 4.3 rebounds, 0.8 assists and 0.9 steals in around 21 minutes in the competition. Domestically, he regularly posted scored in double figures, including a career-high 24 points against Roma, put against more average games he finished with 6.9 points and  4.9 rebounds in a career-high 21 minutes. Discarding the statistics, Melli had crucial contributions during the Serie A playoffs, starting with 18 points in 22 minutes in the first game against Pistoia.After starting the finals series against defending champions Montepaschi Siena with some off-games Melli exploded in the final two games. In the do-or-die game 6, with Milan trailing, he scored two successive three-pointers to regain the lead before adding a steal and a number of decisive rebounds as Milan won the game to earn a game 7 decider. In that game, he contributed 11 points and a career-high 13 rebounds as Milan won to become Italian champions for the first time in 18 years. 2014–15 season
In July 2014, his contract with Milan was extended for another year. The season proved more difficult for both parties, Melli had an unremarkable season (5.3 points and 3.5 rebounds in the EuroLeague, 5.6 and 4.3 in Serie A) as Milan were stopped in the Italian playoff semi-finals in their title defense and stalled in the EuroLeague Top 16. Brose Bamberg

2015–16 season
<mask> moved abroad in July 2015, signing with German side Brose Bamberg for two years. He cited Brose's strong pursuit of his services and their offering him a more important role in the side as motivation for the move abroad, adding that the presence of compatriots Andrea Trinchieri and Daniele Baiesi as head coach and GM respectively would facilitate his adaptation.<mask> was named the MVP of the Month of November of the 2015–16 Euroleague. 2016–17 season
<mask> was named the EuroLeague Round 11 MVP, after scoring 27 points and grabbing 14 rebounds, in a 70–85 away victory over Maccabi Tel Aviv, on 8 December 2016. He was named to the season's All-EuroLeague Second Team. Fenerbahçe İstanbul
On 8 July 2017, <mask> signed a three-year contract with Turkish club Fenerbahçe. In the 2017–18 EuroLeague season, Fenerbahçe made it to the 2018 EuroLeague Final Four, its fourth consecutive Final Four appearance. Eventually, they lost to Real Madrid, by a score of 80–85 in the finals game. In the finals game, <mask> was the finals top scorer, as he scored 28 points, which was the most points scored in a EuroLeague Finals game by a player since 1985.He had a season-best performance in the EuroLeague Finals, scoring 28 points and grabbing 6 rebounds. Over 36 EuroLeague games played in total, he averaged 8.9 points, 5 rebounds and 1.7 assists per game. New Orleans Pelicans (2019–2021)
On 25 July 2019, <mask> signed with the New Orleans Pelicans of the National Basketball Association (NBA). On 22 October 2019, <mask> made his debut in NBA, coming off the bench in a 122–130 overtime loss to the Toronto Raptors with fourteen points, five rebounds and two assists. On 12 February 2020, <mask> replaced Deandre Ayton for the World Team in the Rising Stars Challenge. Dallas Mavericks (2021)
He was traded to the Dallas Mavericks on 26 March 2021, alongside JJ Redick in exchange for James Johnson and Wes Iwundu, in addition to a second-round draft-pick. He made his debut three days later, in a 127–106 win over the Oklahoma City Thunder where he recorded six points in twelve minutes.Olimpia Milano (2021–present)
On 9 July 2021, <mask> made his return to Europe by officially signing with his former club Olimpia Milano. National team career

Italian junior national team
Melli played with the Italian Under-16 side at the 2007 FIBA Europe Under-16 Championship, averaging 13.1 points, 9.8 rebounds and 2 blocks per game (all three team bests), as he was selected to the tournament's best five. With the U-18's at the 2008 FIBA Europe Under-18 Championship, he averaged 9.5 points and 6.4 rebounds per game (the latter a team best). In the 2011 FIBA Europe Under-20 Championship, Melli contributed 10.1 points, 6.8 rebounds and 1 block per game, in nearly 25 minutes played per game, including 23 points and 11 rebounds in the quarterfinal against Montenegro, to help Italy reach the final. He had an off-game against Spain in the semi-final, grabbing 7 rebounds and scoring 9 points, but shooting 2 for 8 from the floor, and committing four fouls, as Italy had to make do with a silver medal. Italian senior national team
<mask> made his full debut (discounting the All-Star Game) for the senior Italian team in August 2011, though he was rarely called up until 2013. After being called up to the Italy squad for EuroBasket 2013, the power forward had to play in an unfamiliar center position, due to the lack of big men in Italy's squad.Alternating at the position with Marco Cusin, he was pitted against bigger and stronger opponents, finishing the tournament with a respectable 4.4 points and 4.3 rebounds per game, in around 16 minutes played per game – with highs of 14 points and 10 rebounds against Turkey – as Italy reached the tournament's quarterfinals. <mask> also played at the EuroBasket 2015. <mask> scored a team high 15 points in a win against Nigeria in the preliminary round of the 2020 Summer Olympics in Tokyo, Japan. They met when Vollertsen moved from the U.S. to Reggio Emilia to play professionally. Enrico, <mask>'s younger brother who was born in 1995, has also played basketball for Reggiana. <mask> is a dual citizen of Italy and the United States. However, the first time he visited the latter was at 16 and he doesn't feel very American.He describes his English as good but not fluent. References

External links

<mask> <mask> at eurobasket.com
<mask> <mask> at euroleague.net
<mask> <mask> at fiba.com
<mask> <mask> at legabasket.it
<mask> <mask> at tblstat.net

1991 births
Living people
American expatriate basketball people in Germany
American expatriate basketball people in Turkey
American men's basketball players
Basketball players at the 2020 Summer Olympics
Brose Bamberg players
Centers (basketball)
Dallas Mavericks players
Fenerbahçe men's basketball players
Italian expatriate basketball people in Germany
Italian expatriate basketball people in Turkey
Italian expatriate basketball people in the United States
Italian men's basketball players
Italian people of American descent
Lega Basket Serie A players
National Basketball Association players from Italy
New Orleans Pelicans players
Olimpia Milano players
Olympic basketball players of Italy
Pallacanestro Reggiana players
Power forwards (basketball)
Sportspeople from Reggio Emilia
Undrafted National Basketball Association players
Victoria Libertas Pesaro players

masks:
Nicolò Melli
Melli
Melli
Melli
Melli
Melli
Melli
Melli
Melli
Melli
Melli
Melli
Melli
Melli
Melli
Melli
Melli
Melli
Melli
Melli
Melli
Nicolò
Melli
Nicolò
Melli
Nicolò
Melli
Nicolò
Melli
Nicolò
Melli


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<mask> of Aquilegia (Lorenzo di Aquileia) was a thirteenth-century Italian canon and teacher. He is best known for his treatises on the ars dictaminis—the medieval art of letter writing. <mask>’s major works found inspiration in Ciceronian rhetoric but introduced a new phatic element to writing and include the Summa dictaminis edita iuxta doctrinam Tullii and the Practica sive usus dictaminis edita ad utilitatem rudium. The Practica is his most popular work and characterizes his pragmatic, phatic approach to letter writing through the use of tables. Biographical information
In Cividale del Friuli in the northern Italian diocese of Aquilegia, <mask> was born sometime before 1250. After studying the arts at Bologna (the hub of dictatorial study), he returned home and became canon of Aquilegia. As canon, <mask> worked closely with the patriarchate, starting in 1269, where he assisted at the promulgation of the will of the recently deceased Patriarch of Aquilegia.<mask> worked with the patriarchate until 1304, making notable appearances in the train of patriarch-elect Philip of Carinthia in 1270 and at patriarch Raimondo della Torre’s generale colloquium in 1274 (Jensen 1973). Aside from his civic duties, <mask> was a respected traveling teacher. He began his teaching career in the early 1280s, where medieval scholars propose he traveled first to Bologna, then sojourned in Rome, Toulouse, and Orléans (Jensen 1973). In the late 1290s, <mask> gained popularity as a teacher in the faculty of arts at Paris. It was here that he wrote his first treatise, Summa dictaminis, and delivered it to the assembled university. The composition was well received, marking his position as a distinguished dictatores (or orator) and writer on the art of letter writing (Jensen 1973). His popularity rose with his continued writing, and copies of his eight manuscripts on the theory and application of the dictaminal style were widely circulated.Along with writing manuscripts, <mask> combined his civic and teaching career, composing letters on behalf of the university at Paris. His most significant letter was addressed to the pope, requesting a studium of Greek, Arabic, and Tartar be established (Jensen 1973). After a distinguished academic and civic career, scholars assume <mask> died of old age sometime after 1304. Works

Summa dictaminis edita iuxta doctrinam Tullii
<mask>’s first work, written at Paris and dated between 1298 and 1302, the treatise borrows from Cicero’s De inventione and the Rhetorica ad Herennium as well as from fellow dictatores Buoncompagno’s Rhetorica novissima (Jensen 1973). In the first of the treatise’s eight main parts, <mask> defines the basic concepts related to dictaminal writing: orator, rhetor, dictatores, and dictamen. He concludes by defining the letter and its parts. Parts two through six concern a detailed description of each of the five parts of a letter: salutation, exordium, narrative, petition, and conclusion.Of the five parts, the description of the salutation is the longest, which is not surprising given the medieval preoccupation with social levels (Jensen 1973). In parts seven and eight, <mask> concludes his work with the colours of rhetoric and strategies for embellishment, respectively. Summa dictaminis breviter et artificiose composita secundum stilum Romane curie et consuetudinem modernorum (undated)

Also written at Paris, this second work is simpler and shorter than his first. <mask> intended the work for “novices eager to learn dictamen” (Jensen 1973), and its simplicity contributed to its popularity. Like its predecessor, this work defines dictamen and the five parts of the letter—known as the “Approved Format” of the time (Murphy 1974). Again, the bulk of the work concerns the salutation, with thirty-seven chapters devoted to salutations for different social levels (i.e. writing to the Pope, writing to a king, writing to a farmer, writing to a scholar).<mask> covers the other parts of the letter only briefly. He ends his work with a discussion of stylistic vices. Practica sive usus dictaminis edita ad utilitatem rudium (undated)
<mask>’s most popular work arranges forms of address to people of various social levels in tabular form. Seven tables (one for each class of persons) offer examples of salutations, narratives, petitions, and conclusions (see images 1 and 2 below). The Practica’s formulaic, pragmatic approach to letter writing not only contributed to its popularity but also represents the “mechanistic dead end” (Perelman 1991) of the ars dictaminis. By following the tables, anyone “capable of copying individual letters of the alphabet” (Murphy 1974) could compose a letter to an addressee of a particular social class. The Practica “struck a responsive chord” (Murphy 1974), as no formal artistic training or rhetorical command of language was necessary to write a letter following <mask>’s tables.Tractatus super diversis modis componendi epistolam; Ars narrandi, petendi, et concludendi; Speculum dictaminis super diversis litterarum formis; Theorica dictaminis (all undated)

These four works represent shortened or excerpted versions of <mask>’s previous treatises. Some scholars ascribe these works to John of Bondi, believed to be <mask>’s pupil, but it was regular practice for dictatores to compose different versions of the same manuscript (Murphy 1974). Letters
To model the epistolary style to students and to complement his treatises, <mask> wrote many letters. The letters exist in two fourteenth-century collections in manuscript form. Influence
While <mask> is known for taking the ars dictaminis to its “mechanistic dead end” (Perelman 1991) and marking its decline, his pragmatic approach marks the corresponding rise of a new movement in Italy: the ars notaria. With the ars notaria, a new class of writers appeared, working as professional secretaries and scribes. These early notaries concerned themselves with documents’ forms and legal documents.With his formulaic approach to the ars dictaminis, <mask> introduced a pragmatic form in his Practica that “t[ook] the chartistic view to its ultimate point” (Murphy 1974). Furthermore, the Practica marks a shift from content- to form-based writing and emphasizes a “phatic rhetoric of personal and official relations” (Perelman 1991). Unlike the classical rhetorical style concerned with persuasion, <mask>’s works concern writing for social purposes, as is clear from his extensive treatment of the salutation in his treatises on letter writing (Jensen 1973). Medieval rhetoric scholar, James J. Murphy, stresses the phatic approach characterized by <mask>’s writing, noting “It is the addressee’s level which determines the nature of the letter, not the subject matter or the level of the writer, or the intentions of the writer” (1974). <mask>’s applied approach to letter writing also stands as an early ancestor to modern texts on business communication (Perelman 1991). Just as teachers today direct their students to examples of memos and reports in textbooks, <mask> directed his students to his model letters and tables in the Practica and related texts (Perelman 1991). Further reading
Camargo, Martin.Ars Dictaminis Ars Dictandi. Belgium: Brepols, 1991. ---. "The Waning of the Medieval Ars Dictaminis." Rhetorica XIX.2 (Spring 2001): 135-140. Capdevila, S. "'La Practica dictaminis' de Llorens de Aquileia, en un codex de Tarragona". Analecta sacra Tarraconensia 6 (1930): 207-29.An edition of the Practica. Murphy, James J. Three Medieval Rhetorical Arts. Berkeley: University of California Press, 1971. References

Murphy, James J. Rhetoric in the Middle Ages: A History of Rhetorical Theory from Saint Augustine to the Renaissance. Berkeley: University of California Press, 1974.Perelman, Les. "The Medieval Art of Letter Writing: Rhetoric as Institutional Expression." Textual Dynamics of the Professions: Historical and Contemporary Studies of Writing in Professional Communities. Eds. Charles Bazerman and James Paradis. Wisconsin: University of Wisconsin Press, 1991. <mask> of Aquilegia

masks: Lawrence Lawrence Lawrence Lawrence Lawrence Lawrence Lawrence Lawrence Lawrence Lawrence Lawrence Lawrence Lawrence Lawrence Lawrence Lawrence Lawrence Lawrence Lawrence Lawrence Lawrence Lawrence Lawrence Lawrence Lawrence Lawrence


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<mask> (born 22 February 1943) is a Bangladeshi film director, producer, lyricist, screenwriter and music director. He earned the Bangladesh National Film Award for Best Lyricist a record six times for the films Tit for Tat (1992), Ajante (1996), Churiwala (2001), Lal Dariya (2002), Kokhono Megh Kokhono Brishti (2003) and Meyeti Ekhon Kothay Jabe (2016). He worked as a lyricist in the "Swadhin Bangla Betar Kendra". He was awarded Ekushey Padak in 2002 and Independence Day Award in 2021 by the government of Bangladesh. Career

1960s
<mask> started his career as a lyricist at Radio Pakistan. The Bangladeshi film industry was born in 1956. <mask> started his career as a lyricist in the Dhallywood film industry in 1965.He wrote songs for Zahir Raihan's films, including Kacher Dewal (1965), Behula (1966), and Dui Bhai (1968). In 1968, Zahir asked him to pen seven songs for a film in two days. <mask> amazed Zahir by finishing in two hours. During this time, <mask> wrote screenplays for multiple films, including Urdu songs for Urdu-language films. 1970s
In the 1970 film Jibon Theke Neya, <mask> wrote the songs. "E Khacha Bhangbo Ami", sung by Khan Ataur Rahman, became a hit. "Eki Sonar Aloy", sung by Sabina Yasmin, was another hit, whose popularity endures.In 1971, the historic fight for Bangladesh's independence from Pakistan took place. Bangladeshi and Indian artists joined the movement through cultural protests. 'Swadhin Bangla Betar Kendra' was established for that purpose. Songs protesting Pakistani aggression and glorifying Bangladeshi freedom fighters' strength and contributions were penned by <mask> Parvez, Govind Haldar and <mask> <mask> <mask>. He wrote the patriotic and popular songs "Ektara Tui Desher Kotha", and "Ekbar Jete Dena", first sung by Shahnaz Rahmatullah. He wrote "Joy Bangla Banglar Joy", which became the theme song of Swadhin Bangla Betar Kendra. He also wrote "Amay Jodi Prosno Koro Kolokakolir Desh"."Joy Bangla" became the theme song for the Awami League. In 1972, he wrote the song "Shudhu Gaan Geye Porichoy" for the film Aponjon. In 1973, he wrote the popular "Monero Ronge Rangabo" for the film Masud Rana. In 1974, he wrote the hit song "Ganeri Khatay Sworolipi Likhe", sung by Runa Laila. It was her first Bangla song and established her as a household name. In 1974, he wrote songs for the patriotic film Alor Michil. Its songs, such as "Dukkho Korona" (sung by Abdul Jabbar) and "Ei Prithir Pore" (sung by Sabina Yasmin) remain popular.Other songs for Yasmin in the 1970s include "O Amar Rosiya Bondhure", "Ei Prithibir Pore", "Eki Sonar Aloy", "Monero Ronge Rangabo" and "Osru Diye Lekha". 1980s
In 1982, he wrote lyrics for Rajnigandha, Ronger Manush, Bhat De and Desh Pardesh. For Rajnigandha, he wrote "Ami Rajanigandha Phuler Moto" (sung by Yasmin), a major hit. He wrote "Jeona Saathi" (sung by Yasmin) for Door Desh. The latter fetched a National Film Award for Andrew Kishore. <mask>'s "Sobai To Bhalobasa Chai" (sung by Andrew Kishore) was a big hit. "Dhonyo Hoyechi Ami", "Koto Sadhonay Emon Bhagyo Mele", and "E Jibone Tumi Ogo Ele", all sung by Yasmin, were successful.In 1984, he wrote popular songs for Mahanayak. In 1986, he wrote "Ei Duniya Ekhon To Aar" (sung by Mitali Mukherjee) for Dui Poisar Alta, starring Shabana. Mukherjee earned a National Film Award for that song. He wrote the song "Akasher Hate Achhe Ekrash Nil", which made Shammi Aktar popular. 1990s
In 1990, he directed the film Swadhin, based on a story from the liberation. In 1997, he wrote "Je Prem Swargo Theke" and "Tumi Amar Praner Cheye Priyo" for Praner Cheye Priyo. In 1999, he penned the songs for the film Biyer Phul, Ammajan, Madam Fuli, Ragi.Biyer Phul had the hit song "Tomay Dekhle Mone Hoy", sung by Kishore and Kanakchapa. 2000-present
In 2002, he wrote songs for Premer Taj Mahal. The soundtrack album was quite successful. It contained the hit "Chhotto Ekta Jibon Niye". He received his fourth National Film Award for Best Lyricist for the film. In 2003, he wrote "Kichu Kichu Manusher Jibone" for Phul Nebo Na Osru Nebo. It was sung by Kishore and Kanak Chapa.In 2005, his song "Sukher Pakhi Re", which appeared in the film Dui Noyoner Alo, earned Yasmin a National Film Award for Best Female Playback Singer. Collaborations
He worked with almost every singer and music director of Dhallywood. Shahnaz Rahmatullah; He wrote songs for Shahnaz Rahmatullah, Syed Abdul Hadi, Sabina Yasmin and Runa laila. "Tondraha Noyono Amar", "Ektara Tui Desher Kotha", "Ekbar Jete Dena", "Ek Nodi Rokto Periye", "Sagorer Teer Theke", "Akasher hate ache ekrash nil" and "Chokher nozor emni koira ekdin khoiya jabe". He is best remembered for his collaborations with Yasmin. Her major hits came from her and included "Prem jeno mor godhuli belar Pantho pakhir kakoli", "Osru Diye Lekha", "Swojon Harano Diner", "Koto Sadhonay", "Jibon Amar Dhonyo Holo", "Ei Prithibir Pore", "O Amar Rosiya Bondhure", "Ei Mon Tomake Dilam", "Ami Rajanigandha Phuler Moto", "Tumi Je Amar Kobita", "Mohakal Seto Okul", "E Jibone Tumi Ogo Ele" and "Jeona Saathi". Other important collaborators included Runa Laila, Andrew Kishore, Kanak Chapa, Syed Abdul Hadi, Subir Nandi and Khurshid Alam.His songs for Kishore included: "Bhalobasar Mullo Koto", "Ami Ekdin Tomay Na Dekhile", "Hayre Manush Rongin Fanush" and "Sobaito Bhalobasa Chai". He wrote most of Syed Abdul Hadi's. <mask> wrote "Chhotto Ekta Jibon Niye", "Akashe Chand Utheche", "Onek Sadhonar Pore", "Je Prem Swargo Theke", "Ki Chhile Amar" and other tracks for Kanak Chapa. Songs
A partial list of <mask>'s compositions include:

Filmography

Lyricist

Director
He has directed 19 films. His filmography as a director follows:

Producer
<mask> has produced 23 films. Legacy
<mask> <mask> <mask> is unsurpassed as a Bangladeshi lyricist. He worked with music directors including Alam Khan, Sheikh Sadi Khan, Alauddin Ali, Samar Das, Satya Saha, Ahmed Imtiaz Bulbul and a later generation including Shawkat Ali Emon, Emon Saha and Ali Akram Shuvo.He was among the lyricists of Swadhin Bangla Betar Kendra in 1971 alongside Apel Mahmud, Govind Haldar, Abdul Gaffar Chowdhury. He wrote the songs "Swajan Harano Diner Smarane", "Ektara Tui Desher Kotha", "Ek Nodi Rokto Periye" etc. songs. These songs inspired the nation during the war. His songs made elevated Sabina Yasmin, Runa Laila, Shahnaz Rahmatullah, Subir Nandi, Syed Abdul Hadi, Mahmudunnabi, Kanak Chapa, Andrew Kishore, Khalid Hasan Milu, Baby Nazneen and Monir Khan. Awards
 Bangladesh National Film Award for Best Lyrics (1992, 1996, 2001, 2002, 2003 and 2016)
 Ekushey Padak (2002)
 Independence Award (2021)
 President's gold medal for his contribution in the liberation war, by Sheikh Mujibur Rahman
 Zia Gold Medal (2002)
 Desh Netri Sansrkitik Padak for his contribution in culture. Dev Bhattacharya and SM Sultan Memorial Award in 1994.Comilla-Chandpur Brahmanbaria Award in 1995. SI DAB Award
 Dhaka Performing Arts Award
 Nattyashaba Award
 Purbani Chalaschitra Pathak Award
 Chitrali Pathak Award
 Comilla Foundation Award
 Jahir Raihan Chalaschitra Award
 Sequence Award
 Dhaka Bishwabiddalaya Shikkhai Alo Award
 Raza Hossain Khan Smriti Award
 Bangladesh Socio Cultural Center Award, and the Film Audience Award. Lifetime achievement
Anwar received several lifetime achievement awards including Cine Film Journalist Association Lifetime Achievement Award and CJFB Lifetime Achievement Award. References

External links

Living people
1943 births
Bangladeshi lyricists
Bangladeshi music directors
Bangladeshi film directors
Best Lyricist National Film Award (Bangladesh) winners
Recipients of the Ekushey Padak in arts
Recipients of the Independence Day Award

masks:
Gazi Mazharul Anwar
Gazi
Gazi
Gazi
Gazi
Gazi
Anwar
Gazi
Mazharul
Anwar
Gazi
Gazi
Anwar
Gazi
Gazi
Mazharul
Anwar


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<mask>, 1st Viscount <mask>, FRS (30 November 1614 – 29 December 1680) was the youngest son of Thomas Howard, 21st Earl of Arundel, and his wife, the former Alethea Talbot. A Fellow of the Royal Society from 1665, he was a Royalist supporter before being falsely implicated by Titus Oates in the later discredited "Popish Plot", and executed for treason. He was beatified as a Catholic martyr by Pope Pius XI in 1929. Early life
<mask> grew up in a nominally Anglican household, his father having converted to the Church of England in 1616. <mask> was undoubtedly exposed to Roman Catholic influences, as almost all of the Howard family remained loyal in private to that faith, even if they
conformed outwardly to the Established Church. His grandfather, Philip Howard, 20th Earl of Arundel had been imprisoned by Elizabeth I in the Tower of London for being a Catholic and had died there in 1595 after 10 years' imprisonment. In 1620, <mask> was placed in the household of Samuel Harsnett, Bishop of Norwich for an education, then attended St John's College, Cambridge, at age 11 in 1624, but did not receive a degree.He was still regarded as a member of the Church of England in 1633, when he was listed as an Ecclesiastical Commissioner. Marriage and children
He married Mary, daughter of <mask> (died 1621) and Ann Wilford, and sister of <mask>, 5th Baron Stafford (died 1637) by a licence granted 11 October 1637. The <mask>s were Catholics and the marriage was conducted by a Catholic, not an Anglican, priest, to the reported embarrassment of the groom's father. Following <mask>'s death, and the forced (and probably illegal) surrender of the barony, on the ground of his poverty, by the next heir, Mary's distant cousin <mask>, 6th Baron Stafford in 1637, the Howard family secured the title for <mask>, he and Mary being created Baron and Baroness Stafford on 12 September 1640. Two months later, <mask> was created Viscount Stafford. The couple had 3 sons and 6 daughters, of whom at least 8 are known:

 <mask> Howard, 1st Earl of Stafford, 2nd Viscount Stafford, who married Claude-Charlotte, daughter of Philibert de Gramont and his wife, Elizabeth, daughter of Sir George Hamilton; died without issue and was succeeded by his brother John's son <mask>. <mask> Howard, who married firstly Mary, daughter of Sir John Southcote of Merstham; married secondly Theresa, daughter of Robert Strickland; father of <mask>, 2nd Earl of Stafford and John, 4th and last Earl.<mask> Howard, who married Eleanor, daughter of <mask>. <mask> Howard, who became a nun. Delphina <mask>, who became a nun at Leuven: she published her father's last letter to her, in which he wrote in moving terms of his innocence of the charges of treason brought against him. Alethea <mask>, who became a nun. <mask> Howard, who in 1669 married as his third wife John Paulet, 5th Marquess of Winchester, but had no issue. <mask> Howard, who married George Holman, of Warkworth, Northamptonshire, and had issue including Anne, who married her cousin <mask>, 2nd Earl of Stafford. Exile and return
<mask> and his family left England in August 1641, moving to Antwerp; his parents had also left England and were living in the same area.He was allowed by Parliament to return to England with his wife  for a time in 1646 and 1647; but in 1649 his estates were sequestered and he was forced to compound for recusancy and royalism. At his trial in 1680, he claimed to have performed many duties for King Charles II during the 1650s, travelling between England and the Low Countries, and visiting Rome, the Palatinate and Heidelberg; in this last he was arrested for claims of debt against the Arundel estate. <mask> was imprisoned in 1656 in the Netherlands, this time for his father's debts. There were many family quarrels over the Howard inheritance, especially between <mask> and his elder brother's family, who  pursued a series of lawsuits against <mask> and his mother for money allegedly due to them. <mask>'s principal character flaw seems to have been his quarrelsome nature. During the Popish Plot he pointed out the absurdity of linking him with Lord Arundell as a co-conspirator, since it was well known that they had not been on speaking terms for 25 years. Over the years he quarreled with many of his Howard relations, including Henry Howard, 6th Duke of Norfolk, the head of the family, which was to prove unfortunate for him in 1680 when several of his Howard cousins sat as his judges to try him for treason.According to John Evelyn, an eye-witness, of his close relatives in the House of Lords who sat in judgement, only the Earl of Arundel voted Not Guilty, showing, as Evelyn rightly remarked, that <mask> was a man "not beloved by his family". He returned to England at the Restoration of Charles II in 1660 and was restored to his estates. By now   he had long since  abandoned  the  Anglican  faith. He was never really prominent in political affairs nor among the Catholic community, although he did promote the removal of the anti-Catholic penal laws with King Charles II and James, Duke of York, and in the 1670s he apparently tried to mediate between James and the leaders of the Whig opposition. At his trial in 1680 he said vaguely that he might have promoted a policy of religious toleration in his speeches in the House of Lords, but could not remember this in any detail. He was a Fellow of the Royal Society from 1665 onwards, becoming a council member in 1672. His relative obscurity was held against him during the Plot; informers like Stephen Dugdale cunningly invented quite plausible speeches in which he lamented the King's ingratitude and the lack of reward the Howards had received for their loyalty.In fact <mask>, like his fellow Plot victim John Belasyse, 1st Baron Belasyse, thought that under the tolerant regime of Charles II,  himself  widely  believed  to  be a secret Catholic, the Catholic nobility were as well off as they could reasonably expect to be; at his trial he maintained that he had always argued that "we (i.e the Catholic peers) have no other interest than to be quiet." For example, it was well known to the authorities that the Catholic Mass was regularly celebrated at his London town house, but no action was taken against him as a result. He was frequently abroad: his visits to Paris in the late 1670s, though apparently quite innocent, were later to have fatal results, when he was accused by the informer Edward Turberville of going to Paris to hire a killer to assassinate Charles II. <mask> for his part denied that he had ever seen Turberville in his life. Popish Plot

In 1678, he was implicated in Titus Oates's later discredited "Popish Plot", and sent to the Tower of London on 31 October 1678, along with four other Catholic peers. They were due to be put on trial in early 1679, but Charles prorogued Parliament and it was delayed. The King initially seems to have had some suspicions about <mask>'s loyalty, especially after hearing the seemingly plausible evidence of  the informer Stephen Dugdale, and went so far as to offer <mask> a royal pardon if he would confess; but he later altered his opinion.Scepticism about the plot grew and it was thought that the imprisoned peers might be released, but anti-Catholic feelings revived in 1680 and <mask> was put on trial in November for treason. As a peer he claimed the privilege of peerage to be tried before the House of Lords, presided over by the Lord High Steward. As events would show, however, a peer could not take the sympathy of his fellow peers, even those  peers who were his blood relations, for granted. Trial
Trial began on 30 November 1680 (O.S.) at Westminster Hall, and the evidence and arguments closed on 6 December. The main evidence against <mask> came from Titus Oates, who said he had seen a document from the Pope naming <mask> as a conspirator; and from Stephen Dugdale, who testified that <mask> had tried to persuade him to kill the King when <mask> was visiting Dugdale's employers, the Astons, at their country house, Tixall, Staffordshire. A third and particularly dangerous witness, Edward Turberville (a professional soldier, and thus a plausible  choice as an assassin) said that he had visited <mask> in Paris in 1676, where <mask> had tried to bribe him to kill Charles II.There were several inconsistencies in his story, especially concerning the relevant dates, but <mask>, lacking expert legal assistance, failed to exploit them properly. <mask>, like all those who were charged with treason until the passage of the Treason Act 1695, was denied defence counsel and forced to conduct his own defence, bringing forward witnesses to counter the evidence against him. One such witness would have been Richard Gerard of Hilderstone, who had come to London to testify on <mask>'s behalf but was imprisoned on the word of Stephen Dugdale; Gerard died in jail before the trial. Although the Lord High Steward, Heneage Finch, conducted the trial with exemplary fairness, this was not enough to secure <mask>'s acquittal: while <mask> maintained his innocence with vigour, John Evelyn, a spectator, thought his speeches "very confused and without method". He failed, where a good defence counsel might have succeeded, in exposing the inconsistencies in the evidence of Turberville, or to discredit the unsavoury Oates, whose public standing had declined notably over the preceding year. As Evelyn also noted <mask> was "not a man beloved by his own family", and seven out of eight peers of the Howard dynasty who sat on the Court voted him Guilty. A vote was taken of the peers in a roll call on 7 December 1680 (O.S., 17 December 1680 N.S.) .<mask> was convicted by a majority of 55 votes of Guilty to 31 of Not Guilty and sentenced to be hanged, drawn and quartered, the punishment of traitors, which was commuted by the King to beheading. The King, even though he is not thought to have had much personal regard for the unpopular <mask>, later said that he had signed the death warrant "with tears in his eyes", but in the current state of public opinion a reprieve was impossible. Charles added that <mask>'s accusers had his blood on their hands, just as he later told  the Earl of Essex that the blood of Oliver Plunkett was on his head. Execution
<mask> was executed on Tower Hill on 29 December 1680. Gilbert Burnet wrote that he was quickly forgotten, but others thought that the publication of a version of his final words, addressed to his daughter Delphina (who was a nun at Leuven), in which he spoke eloquently of his innocence – "My good child, I pray God bless you. ...Your poor old father hath this comfort, that he is totally innocent" – helped to turn public opinion against the Plot. The early deaths of Dugdale and Turberville, the principal informers against him, were seen by some as proof of the innocence of <mask> and other victims of the plot: <mask> himself was said to have prophesied (correctly) that Turberville would follow him to the grave within the year.To the surprise of many, Turberville to the very last maintained the truth of his charges against <mask>: Gilbert Burnet thought <mask>'s innocence or guilt a mystery beyond solution. Attainder
<mask> was attainted and the family lost the title. The well-intentioned efforts of King James II in 1685 to have the attainder reversed failed, due to deadlock between the two Houses of Parliament on the issue, and later to the King's unwillingness to recall  his  increasingly obstructive Parliament. The title of Baron Stafford was returned to the Howard line in 1824, with the attainder being reversed, but the title of Viscount was extinct as there were no male heirs. His widow, Mary, had her titles restored with the accession of James II, as a consolation for the failure to reverse the attainder on her husband, and she was created Countess of Stafford on 5 October 1688, at the same time her son was created Earl of Stafford. Ancestry

Notes

References

External links
Blessed <mask> High School Stafford U.K. Speech given from the scaffold by Blessed <mask>

1614 births
1680 deaths
Alumni of St John's College, Cambridge
English beatified people
Cavaliers
<mask>, 1st Viscount Stafford
Barons Stafford (1640 creation)
People executed under the Stuarts for treason against England
Executed English people
Victims of the Popish Plot
Recusants
17th-century Roman Catholic martyrs
16th-century venerated Christians
Fellows of the Royal Society
People executed by Stuart England by decapitation
Viscounts in the Peerage of England
Place of birth missing
English politicians convicted of crimes
One Hundred and Seven Martyrs of England and Wales
Younger sons of earls

masks:
William Howard
Stafford
William
William
William
Edward Stafford
Henry Stafford
Stafford
Henry Stafford
Roger Stafford
William
William
Henry Stafford
William
John Stafford
William
Francis Stafford
Henry Stafford
Ursula Stafford
Stafford Howard
Stafford Howard
Isabella Stafford
Anastasia Stafford
William
William
Stafford
William
William
Stafford
Stafford
Stafford
Stafford
Stafford
Stafford
Stafford
Stafford
Stafford
Stafford
Stafford
Stafford
Stafford
Stafford
Stafford
Stafford
Stafford
Stafford
Stafford
Stafford
Stafford
Stafford
Stafford
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Stafford
Stafford
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William Howard
William Howard


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<mask> (born October 21, 1928) is an American space physicist, planetary scientist, and Distinguished Professor Emerita of Space Physics at the University of California, Los Angeles. From 2010 to the present, concurrent with her appointment at UCLA, <mask> has been a research scientist and scholar at the University of Michigan. Her primary research interests include the magnetospheres of Earth, Jupiter, and Saturn. Recent research has also focused on Jupiter's Galilean moons. She was the Principal Investigator for the magnetometer on the Galileo Orbiter that acquired data in Jupiter's magnetosphere for eight years and a Co-Investigator on the FGM (magnetometer) of the earth-orbiting NASA-ESA Cluster mission. She is actively involved as a Co-Investigator on NASA's Themis mission, the magnetometer Team Leader for NASA's Europa Clipper Mission, as a member of the Cassini magnetometer team, and as a participant in the magnetometer team for the European JUICE mission to Jupiter. <mask> has published over 350 research papers and is co-editor of a widely used textbook on space physics (Introduction to Space Physics).Early life and education
<mask> was born in New York City on October 21, 1928. Her father was a medical doctor and her mother had an undergraduate degree in physics. Kivelson knew in high school that she wanted to pursue a career in science, but was unsure whether she would be successful with the career. Her uncle advised her to become a dietitian knowing that pursuing a physical science career as a woman would be hard, but she ignored this advice and began to study physics. <mask> was accepted into Radcliffe College, Harvard's women's college in 1946, obtained her A.B. degree from Radcliffe in 1950, completed her master's degree in 1952, and was awarded her Ph.D. in physics from Harvard in 1957. Career
Kivelson completed her PhD thesis "Bremsstrahlung of High Energy Electrons' in 1957.Her thesis provided an expression for
the cross section of forward scattering to all orders in the Coulomb interaction. From 1955 to 1971 <mask> worked as a consultant in physics at the RAND Corporation based in Santa Monica, California. Here she researched the interactions of plasmas and electron gases using mathematical techniques similar to those in quantum electrodynamics. Working with Don DuBois, they derived a correction to Landau's relation for the damping excitations of unmagnetized plasma. For 1965-1966, <mask> took a leave from RAND to join her husband's sabbatical leave in Boston. Through a fellowship from the Radcliffe Institute for Advanced Study, <mask> was able to conduct scientific research in a university setting at Harvard and MIT. Motivated by her experiences in academia through the Radcliffe Institute, <mask> joined UCLA in 1967 as an assistant research geophysicist.<mask> quickly climbed through the ranks within the geophysics and space physics community becoming a full professor at UCLA's Department of Earth and Space Sciences in 1980. She chaired the Department of Earth and Space Sciences from 1984 to 1987 and from 1999 to 2000. From 1977 to 1983 <mask> served on the Board of Overseers at Harvard College as well as NASA's Advisory council from 1987 to 1993, the National Research Council's Committee on Solar-Terrestrial Research from 1989 to 1992, and co-chaired the UCLA Academic Faculty Senate's Committee on Gender Equality issues from 1998 to 2000. In 2009 she became a Distinguished Professor of Space Physics, Emerita and in 2010 she also took a position as a research professor at the University of Michigan. Scientific contributions

<mask> has had a very successful career as a scientist that include many publications and original work. Some of her accomplishments are discovering an internal magnetic field at Ganymede, providing compelling evidence for a sub-surface ocean at Europa, and elucidating some of the processes explaining the behavior of ultralow frequency waves in the terrestrial magnetosphere, the discovery of cavity mode oscillations in the magnetosphere, developed new ways of describing wave-particle interactions in magnetohydrodynamic waves, and provided insight into the mechanism of interchange diffusion in rotating plasmas. This research has led <mask> to being an author or co-author on over 350 publications that have accumulated over 12,000 citations.Establishing a scientific career as a woman
Some of her recollections about establishing a career as a woman scientist have been documented in an interview by the American Astronomical Society and piece in the Annual Review of Earth and Planetary Sciences. When Kivelson started to pursue her undergraduate degree in physics her family joked she was really pursuing a "Mrs" degree. Before  World War II, courses at Radcliffe were segregated by gender from courses at Harvard. However, when Kivelson attended Radcliffe/Harvard  in the first class after the war, classes did not return to being segregated. Kivelson was often the only woman in her courses. Over the course of Julian Schwinger's career he had more than 70 graduate students and of these Kivelson was his only female student. In 1954, she gave birth to her first child, <mask>, now a professor of physics at Stanford, and afterwards she often faced criticism for continuing to work despite being a mother.In 1955 her husband received an appointment at UCLA and she followed him to Los Angeles. She started working part-time at the RAND Corporation while completing her thesis. A few months after receiving her PhD in 1957, she gave birth to her second child, <mask>, now a professor of history at the University of Michigan. In 1973, <mask> won a Guggenheim Fellowship to work at the Imperial College in London. According to her, "that fellowship gave me for the first time the sense that I was being taken seriously as a scientist. More than money, it gave me status and increased my self-confidence considerably."

masks:
Margaret Galland Kivelson
Kivelson
Kivelson
Kivelson
Kivelson
Kivelson
Kivelson
Kivelson
Kivelson
Kivelson
Kivelson
Kivelson
Kivelson
Steven Kivelson
Valerie Kivelson
Kivelson


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<mask> (10 May 1901 – 25 August 1987) was an Austrian philologist who specialized in Germanic studies. A student of Rudolf Much, Höfler was Professor and Chair of German Language and Old German Literature at the University of Vienna. Höfler was also a Nazi from 1922 and a member of the SS Ahnenerbe before the Second World War. Höfler was a close friend of Georges Dumézil and Stig Wikander, with whom he worked closely on developing studies on Indo-European society. He tutored a significant number of future prominent scholars at Vienna, and was the author of works on early Germanic culture. refers to him as "perhaps most famous and probably most controversial representative" of the "Vienna School" of Germanic studies founded by Much. Early life and education
<mask> was born in Vienna on 10 May 1901 to a highly educated upper middle class family.His father, Alois <mask>, was Professor of Philosophy and Pedagogy at the University of Vienna. Alois was a passionate admirer of Richard Wagner, and the author of a book on the Germanic god Odin. <mask>'s mother, Auguste Dornhöffer, was from Bayreuth and also a Wagner admirer. Höfler studied German and Nordic philology at the University of Vienna from 1920 to 1921 under Rudolf Much. Höfler joined the Wiener Akademischer Verein der Germanisten, a völkisch group of German academics in 1921. He joined the Austrian Nazi Party in 1922 after hearing Hitler speak in Vienna. He subsequently continued his studies in Nordic philology at the universities of Lund, Kiel (under Andreas Heusler), Marburg and Basel.He completed his PhD at the University of Vienna in 1926 with the dissertation Altnordische Lehnwortstudien, which examined loanwords in Old Norse. Career
From 1928 to 1934, Höfler was a lecturer in German at Uppsala University. At Uppsala, Höfler befriended the fellow philologists Stig Wikander and Georges Dumézil, who would remain lifelong friends and intellectual collaborators. He completed his habilitation at the University of Vienna in 1931 with the dissertation Kultische Geheimbünde der Germanen, which examined secret societies of the early Germanic peoples. It had a major influence on the future research of Wikander and Dumézil, who would later examine similar societies among Indo-Iranians and Indo-Europeans. From 1935 he lectured at the University of Kiel. In that same year he became a member of the selection committee for the Reichsberufswettkampf, an organization associated with the SS.From 1938, Höfler was Professor and Chair of Germanic Philology and Ethnology at the University of Munich. Also in 1938, he became a leader of the SS Ahnenerbe, an organization he had joined in 1937, and which was partially responsible for him receiving his position in Munich. His research centered on early Germanic culture, particularly early Germanic religion and literature. Höflers Deutsche Heldensage (1941), which examined Medieval German literature, was highly influential, and republished in 1961. Höfler argued in favor of cultural continuity between modern Germans and early Germanic peoples. Höfler was fired from the University of Munich in 1945, and was subsequently prohibited from teaching. In 1950, he received a license to teach Scandinavian studies.In 1954, Höfler was appointed Associate Professor of Nordic Philology and Germanic Antiquity at the University of Munich. Although nominally Associate Professor, Höfler was for all practical purposes a full Professor during this time. Among his notable students at Munich were Heinrich Beck and <mask>. In 1957, Höfler was appointed Professor and Chair of German Language and Old German Literature at the University of Vienna. Gschwantler accompanied him as an assistant, and would eventually become a full professor. A talented and highly popular teacher, Höfler taught and supervised a generation of very influential scholars at Vienna, including Helmut Birkhan, Hermann Reichert, Peter Wiesinger, Erika Kartschoke, Edith Marold, Klaus Düwel, Waltraud Hunke and Wolfgang Lange. A group of Höfler's most dedicated students, which included Gschwantler, Birkhan, Wiesinger and Kartschoke, were affectionately known as the Drachenrunde.Highly sociable, Höfler played an important role at the university as a host of seminaries and parties at his vineyard, and arranged memorable excursions to Ravenna and other places, which were attended by his students and fellow professors and friends, such as Richard Wolfram and . Retirement
Höfler retired from teaching 1971, but continued to teach and research. After his retirement, Höfler worked on refining his earlier theories, and authored extensive studies on Dietrich von Bern and Siegfried, the two most important characters in Medieval German literature. He argued that Siegfried was derived from the Germanic chieftain Arminius, who defeated the Roman army in the Battle of the Teutoburg Forest in 9 AD. Death and legacy
Höfler died in Vienna on 25 August 1987. Höfler's scholarship and legacy are controversial. Höfler had a major influence on Georges Dumézil's trifunctional hypothesis of Indo-European society.He worked closely with Dumézil and scholars such as Stig Wikander, Émile Benveniste and Jan de Vries on developing study on Indo-European mythology, and has been credited with having significantly contributed to reviving the field of comparative mythology. According to Price, though Höfler's early career was shaped by the political changes of the times, the actual content of his works were of high quality and not tainted by political bias. Rowe says that though criticized by some, Höfler's key theories has never been refuted. Price argues Höfler's research has continued to be of great relevance up to the present day. On the other hand,  argues that Höfler’s work is "an example of the self-subjugation of Germanic scholarship to völkisch-nationalistic and National Socialistic ideologies." Jan Hirschbiegel argues that Höfler's work served less to uncover new academic knowledge than to create an ideological foundation for the Nazi state, that Höfler's cultic group of Odin's warriors was meant as spiritual predecessor of the Nazi "death cult" and its "death symbolism", and that Höfler never distanced himself from the völkisch elements of his earlier work. Wolfgang Behringer and Klaus von See similarly point to his Kultische Geheimbünde der Germanen as, in Behringer's words, a "sensational apology for the SS".

masks:
Otto Eduard Gotfried Ernst Höfler
Otto Höfler
Höfler
Otto
Otto Gschwantler