Claude Deruet

Claude Deruet was a famous French Baroque painter of the 17th century, from the city of Nancy. Deruet was an apprentice to Jacques Bellange, the official court painter to Charles III, Duke of Lorraine, he was in Rome between ca. 1612 and 1619, where - according to André Félibien - he studied with the painter and etcher Antonio Tempesta. During his stay in Rome, he painted the Japanese samurai Hasekura Tsunenaga on a visit to Europe in 1615. Deruet was made a noble by the Duke of Lorraine in 1621, was made a Knight of the Order of St Michel in 1645 by Louis XIII, who had in 1641 absorbed most of Lorraine into France, he had a luxurious residence in Nancy, named La Romaine, where Louis XIII and his Queen stayed in 1633. Claude Lorrain was an apprentice to Claude Deruet in 1623 for one year, he married and had two sons, one of whom became a painter. American architect DeWitt H. Fessenden wrote a biography of Deruet, The Life and Works of Claude Deruet, in 1952. French Renaissance

Russell Paulley

Andrew Russell "Russ" Paulley was a Canadian politician. He served as leader of the Manitoba Co-operative Commonwealth Federation from 1959 to 1961, its successor, the New Democratic Party of Manitoba, from 1961 to 1969; the son of Russell Henry Paulley and Elizabeth Partington, Paulley was born in Winnipeg and was educated in the city. In 1937, he married Mary Alice Sinclair, he moved to the suburb of Transcona and worked as a foreman upholsterer for the Canadian National Railway. Paulley served as mayor of Transcona from 1946 to 1949 and from 1952 to 1953, he became a Freemason, was involved in the province's socialist politics. Paulley was a CCF candidate for St. Boniface in the federal election of 1949, finishing a distant second to Liberal Fernand Viau, he turned to provincial politics for the 1953 provincial election, was elected for the riding of Kildonan—Transcona. After redistribution, he was re-elected for Radisson in 1958 and 1959. CCF leader Lloyd Stinson lost his seat in the 1959 election, Paulley was selected as interim leader in his place.

In 1960, he was confirmed at a party convention as Stinson's permanent replacement. Like all previous CCF and ILP leaders in Manitoba, he was elected without opposition; the late 1950s was a period of transformation for the Manitoba CCF, as the federal party was in the process of merging with the Canadian Labour Congress to create the New Democratic Party. There was no strong opposition to the change in Manitoba, the provincial CCF formally dissolved itself in 1961 to be succeeded by the New Democratic Party of Manitoba. On November 4, 1961, Paulley defeated Cliff Matthews and Hans Fries at a delegated convention to become the new party's leader; the elections of 1962 and 1966 were disappointments for the Manitoba NDP. In the late 1950s, the CCF under Lloyd Stinson had made modest increases from its previous standing, some party members believed that the NDP was well-positioned to replace the Liberals as the main opposition to Dufferin Roblin's Progressive Conservative government; this did not occur.

Roblin's government was progressive, won the support of many centre-left voters. Roblin was a more popular figure than Paulley on a personal level; the Liberals, for their part, still had a support base in the province's rural and francophone communities, were able to win a few Winnipeg-area seats. The NDP fell from ten seats to seven in 1962, it was still relegated to third-party status. Paulley, re-elected on both occasions, faced increased opposition from a "modernizing" wing within the party. There was a growing belief among NDP Members of the Legislative Assembly that Paulley, while a good representative of labour interests, could not lead the party to victory at the polls. In 1968, he faced a leadership challenge from MLA Sidney Green, a labour lawyer from the riding of Inkster in north-end Winnipeg; the contest between Paulley and Green exposed a number of divisions within the Manitoba NDP. Green claimed that he was not challenging Paulley on ideological grounds, but his campaign was depicted by some as "radical left".

Paulley, in turn, was depicted as representing an "old labourite" demographic, unable to reach out to a younger voters or communities which had not supported the CCF and NDP. Paulley fended off Green's challenge by unusual means. During the campaign, eight NDP MLAs signed a letter calling for Paulley to be re-elected such that he could stand aside for Edward Schreyer the following year. Paulley responded to this endorsement by claiming that he had long regarded Schreyer as the best choice to be his successor, though he was somewhat ambiguous as to whether he would resign if re-elected. At the 1968 leadership convention, Paulley received 213 votes to Green's 168. Despite making a half-hearted attempt to retain power, he resigned as leader the following year. Schreyer defeated Green by 506 votes to 177 in the leadership race held shortly thereafter. Under Schreyer's leadership, the NDP won an upset victory in the election of 1969. Paulley was re-elected in Transcona, was sworn in as Minister of Labour and Railway Commissioner on July 15, 1969.

He became Minister of Government Services on December 18, holding his position until September 3, 1970. He stepped down as Railway Commissioner on February 16, 1973, though continuing to hold the Labour portfolio. Paulley was one of several MLAs in the Winnipeg area to be targeted by a conservative "citizen's group" in the election of 1973; the group in question convinced the Progressive Conservative and Liberal parties to avoid competing against each other in certain ridings, such that a single "anti-socialist" candidate could be offered. Facing Tory Phil Rizzuto as his only opponent, Paulley won re-election by 6275 votes to 4151. Paulley continued to serve as Minister of Labour throughout the second Schreyer government taking responsibility for the Civil Service Superannuation Act and Public Servants Insurance Act, the Pension Benefits Act, he did not seek re-election in 1977, did not play a significant role in public life following his retirement. Paulley died on May 19, 1984

Nancy Rexroth

Nancy Rexroth is an American photographer noted for her pioneer work utilizing the Diana camera. In 1977, she published Iowa – the first printed monograph of work completed with a plastic camera. Rexroth was born in Washington D. C. While completing her BFA in English at American University, she developed an interest in photojournalism and was influenced by the work of Emmet Gowin, Robert Frank, Garry Winogrand, Henri Cartier-Bresson, she went on to receive her MFA in Photography at Ohio University. In 1969, during her graduate studies, Ohio University professor, Arnold Gassan, introduced Rexroth to the Diana camera; this toy camera used 120 film and was known for the soft focus and impressionistic, ‘dreamlike’ images it produced as a result of its plastic lens. Although some photographers saw the effects of the Diana camera as hindrances, Rexroth embraced and explored its defects. After completing her MFA, Rexroth moved back to the Washington, D. C. area. While there she participated in a summer internship at the Smithsonian Institution, researching the platinotype process.

As a result of this internship came what would be Rexroth's second publication, The Platinotype 1977, a pamphlet on modern platinum printing. In 1973, she moved back to Ohio to teach at Antioch College and Wright State University, to work on a photographic series that became her first published book, funded by a National Endowment for the Arts Grant. Rexroth's most notable work, Iowa, is a series of poetic images; each candid and liquid composition includes a soft focus and vignette, characteristic qualities of Diana camera images. In The Snapshot, author Jonathan Green writes, “The Diana images are like something you might faintly see in the background of a photograph. Strange fuzzy leaves and forms, simplified doorways. Sometimes I feel as though I could step over the edge of the frame and walk backwards into this unknown region. I would keep right on walking.” Speaking to the appearance of Rexroth’s work, Mary Abbe of the Minneapolis Tribune Paper states, "The show's most striking image, "A Woman's Bed" Logon Ohio 1970, is one of its simplest.

"A Woman's Bed" is a shadowy picture of a dark headboard half-buried by a drift of stark, primordially pure bedding. The headboard's design and the way the bed edges into a corner suggests the narrow confines of the lives it sheltered a mysterious womb of light wrapped in darkness."The Iowa series subconsciously expresses Rexroth's childhood memories of visiting family in Iowa. Growing up in the suburbs of Arlington, she was captivated by the exotic summer landscapes of Iowa. Although the influence of her memories is present, Rexroth refers to Iowa as a hallucinatory state of mind rather than a concrete geographic location of personal sentiment, she describes Iowa as "conceived of as a kind of psychic journey from one emotional mood to the next-- a maturation process. It all happens in a place, exotic." In the introduction to the book, Mark L Power describes this work as "Sunny Iowa was transformed by memory into a dark Iowa with'a real feeling of melancholy.' It became Iowa of'atmospheres' and the Diana became a key-- with it, Rexroth unlocks Iowa from wherever she happens to be."Iowa will be republished by the University of Texas Press in 2017 with the original introduction written by Mark L Power as well as new introductions written by Alec Soth and Anne Wilkes Tucker.

Iowa. Rochester, NY: Violet Press, 1976. With an introduction by Mark L Power; the Platinotype 1977. Rochester, NY: Violet Press, 1976. 1972: Putnam Street Gallery, Athens, OH 1973: Corcoran Gallery of Art, Washington, D. C. 1974: Jefferson Place Gallery, Washington, D. C. 1975: Antioch College, Noyes Gallery, Yellow Springs, OH 1977: Halstead 381 Gallery, Birmingham, MI 1977: Light Gallery, New York, NY 1978: Silver Image Gallery, Columbus, OH 1978: Grapestake Gallery, San Francisco, CA 1979: Kathleen Ewing Gallery, Washington, D. C. 1979: Catskill Center for Photography, Woodstock, NY 1979: Northern Kentucky University, Highland Heights, KY 1980: Light Gallery, New York, NY 1981: Camerawork, San Francisco, CA 1982: Center for Creative Photography, Tucson, AZ. Polaroid SX-70 transfers. 1984: National Museum of American Art, Washington, D. C. 1999: Blue Sky Gallery, Portland, OR 2000–2013: Iowa, Weinstein Gallery Minneapolis, MN, 2000.