George Mason University
George Mason University is a public research university with its main campus in Fairfax, Virginia. Founded as a branch of the University of Virginia in 1949, it became an independent institution in 1972; the university is named after the founding father George Mason, a Virginia planter and politician who authored the Virginia Declaration of Rights, the basis for the U. S. Constitution's Bill of Rights. Mason operates four campuses in Virginia, the main campus being in Fairfax, with a fifth campus in Songdo, South Korea; the university is classified among "R1: Doctoral Universities – Very high research activity." Mason faculty have twice won the Nobel Memorial Prize in Economics. EagleBank Arena, a 10,000-seat arena and concert venue operated by the university, is located on the main Fairfax campus; the university sororities. The University of Virginia in Charlottesville created an extension center to serve Northern Virginia. "… the University Center opened, on October 1, 1949..." The extension center offered both for credit and non-credit informal classes in the evenings in the Vocational Building of the Washington-Lee High School in Arlington, Virginia, at schools in Alexandria and Prince William, at federal buildings, at churches, at the Virginia Theological Seminary, at Marine Corps Base Quantico, in a few private homes.
The first for credit classes offered were: "Government in the Far East, Introduction to International Politics, English Composition, Principles of Economics, Mathematical Analysis, Introduction to Mathematical Statistics, Principles of Lip Reading." By the end of 1952, enrollment increased to 1,192 students from 665 students the previous year. A resolution of the Virginia General Assembly in January 1956 changed the extension center into University College, the Northern Virginia branch of the University of Virginia. John Norville Gibson Finley served as director. Seventeen freshmen students attended classes at University College in a small renovated elementary school building in Bailey's Crossroads starting in September 1957. In 1958 University College became George Mason College; the City of Fairfax purchased and donated 150 acres of land just south of the city limits to the University of Virginia for the college's new site, now referred to as the Fairfax Campus. In 1959, the Board of Visitors of the University of Virginia selected a permanent name for the college: George Mason College of the University of Virginia.
The Fairfax campus construction planning that began in early 1960 showed visible results when the development of the first 40 acres of Fairfax Campus began in 1962. In the Fall of 1964 the new campus welcomed 356 students. During the 1966 Session of the Virginia General Assembly, Alexandria delegate James M. Thomson, with the backing of the University of Virginia, introduced a bill in the General Assembly to make George Mason College a four-year institution under the University of Virginia's direction; the measure, known as H 33, passed the Assembly and was approved on March 1, 1966 making George Mason College a degree-granting institution. During that same year, the local jurisdictions of Fairfax County, Arlington County, the cities of Alexandria and Falls Church agreed to appropriate $3 million to purchase land adjacent to Mason to provide for a 600-acre Fairfax Campus with the intention that the institution would expand into a regional university of major proportions, including the granting of graduate degrees.
On Friday, April 7, 1972, a contingent from George Mason College, led by Chancellor Lorin A. Thompson, met with Virginia Governor A. Linwood Holton at Richmond, they were there to participate in the governor's signing into law Virginia General Assembly Bill H 210 separating George Mason College from the University of Virginia at Charlottesville and renaming it George Mason University. In 1978, George W. Johnson was appointed to serve as the fourth president. Under his eighteen-year tenure, the university expanded both its physical size and program offerings at a tremendous rate. Shortly before Johnson's inauguration in April 1979, Mason acquired the School of Law and the new Arlington Campus; the university became a doctoral institution. Toward the end of Johnson's term, Mason would be deep in planning for a third campus in Prince William County at Manassas. Major campus facilities, such as Student Union Building II, EagleBank Arena, Center for the Arts, the Johnson Learning Center, were all constructed over the course of Johnson's eighteen years as University President.
Enrollment once again more than doubled from 10,767 during the fall of 1978 to 24,368 in the spring of 1996. Dr. Alan G. Merten was appointed president in 1996, he believed that the university's location made it responsible for both contributing to and drawing from its surrounding communities—local and global. George Mason was becoming acclaimed in all of these spheres. During Merten's tenure, the university hosted the World Congress of Information Technology in 1998, celebrated a second Nobel Memorial Prize-winning faculty member in 2002, cheered the Men's Basketball team in their NCAA Final Four appearance in 2006. Enrollment increased from just over 24,000 students in 1996 to 33,000 during the spring semester of 2012, making Mason Virginia's largest public university and gained prominence at the national level. Dr. Ángel Cabrera took office on July 1, 2012. Both Cabrera and the board were well aware that Mason was part of a changing academia, full of challenges to the viability of higher education.
In a resolution on August 17, 2012, the board asked Dr. Cabrera to create a new strategic vision that wou
The Salon, or Paris Salon, beginning in 1667 was the official art exhibition of the Académie des Beaux-Arts in Paris. Between 1748 and 1890 it was arguably the greatest annual or biennial art event in the Western world. At the 1761 Salon, thirty-three painters, nine sculptors, eleven engravers contributed. From 1881 onward, it has been managed by the Société des Artistes Français. In 1667, the royally sanctioned French institution of art patronage, the Académie royale de peinture et de sculpture, held its first semi-public art exhibit at the Salon Carré; the Salon's original focus was the display of the work of recent graduates of the École des Beaux-Arts, created by Cardinal Mazarin, chief minister of France, in 1648. Exhibition at the Salon de Paris was essential for any artist to achieve success in France for at least the next 200 years. Exhibition in the Salon marked a sign of royal favor. In 1725, the Salon was held in the Palace of the Louvre, when it became known as Salon or Salon de Paris.
In 1737, the exhibitions, held from 18 August 1737 to 5 September 1737 at the Grand Salon of the Louvre, became public. They were held, at first and biennially, in odd-numbered years, they would run for some weeks. Once made regular and public, the Salon's status was "never in doubt". In 1748 a jury of awarded artists was introduced. From this time forward, the influence of the Salon was undisputed; the Salon exhibited paintings floor-to-ceiling and on every available inch of space. The jostling of artwork became the subject of many other paintings, including Pietro Antonio Martini's Salon of 1785. Printed catalogues of the Salons are primary documents for art historians. Critical descriptions of the exhibitions published in the gazettes mark the beginning of the modern occupation of art critic; the French revolution opened the exhibition to foreign artists. In the 19th century the idea of a public Salon extended to an annual government-sponsored juried exhibition of new painting and sculpture, held in large commercial halls, to which the ticket-bearing public was invited.
The vernissage of opening night was a grand social occasion, a crush that gave subject matter to newspaper caricaturists like Honoré Daumier. Charles Baudelaire, Denis Diderot and others wrote reviews of the Salons; the 1848 revolution liberalized the Salon. The amount of refused works was reduced. In 1849 medals were introduced; the conservative and academic juries were not receptive to the Impressionist painters, whose works were rejected, or poorly placed if accepted. The Salon opposed the Impressionists' shift away from traditional painting styles. In 1857 the Salon jury turned away an unusually high number of the submitted paintings. An uproar resulted from regular exhibitors, rejected. In order to prove that the Salons were democratic, Napoleon III instituted the Salon des Refusés, containing a selection of the works that the Salon had rejected that year, it opened on 17 May 1863. The Impressionists held their own independent exhibitions in 1874, 1876, 1877, 1879, 1880, 1881, 1882 and 1886.
In 1881, the government withdrew official sponsorship from the annual Salon, a group of artists organized the Société des Artistes Français to take responsibility for the show. In December 1890, the leader of the Société des Artistes Français, William-Adolphe Bouguereau, propagated the idea that Salon should be an exhibition of young, not-yet awarded, artists. Ernest Meissonier, Puvis de Chavannes, Auguste Rodin and others rejected this proposal and made a secession, they created the Société Nationale des Beaux-Arts and its own exhibition referred to in the press as the Salon du Champ de Mars or the Salon de la Société Nationale des Beaux–Arts. In 1903, in response to what many artists at the time felt was a bureaucratic and conservative organization, a group of painters and sculptors led by Pierre-Auguste Renoir and Auguste Rodin organized the Salon d'Automne. J. J. Marquet de Vasselot: Répertoire des catalogues du musée du Louvre, 1793–1917 Thomas Crow: Painters and Public Life in 18th Century Paris.
Yale University Press 1987 Patricia Mainardi: The End of the Salon: Art and the State in the Early Third Republic, Cambridge University Press, 1993. Fae Brauer and Conspirators: The Paris Salons and the Modern Art Centre, Newcastle upon Tyne, Cambridge Scholars, 2013. Albert Boime, "The Salon des Refuses and the Evolution of Modern Art," Art Quarterly 32: 41 1-26 Margo Bistis, "Bad Art: The Decline of Academic Art in the Caricatural Salon," International Journal of Comic Art 7, no.1. Timeline of the Paris Salons Harriet Griffiths and Alister Mill, Database of Salon Artists, 1827-1850
The Cock Fight
The Cock Fight is an 1846 painting by the French artist Jean-Léon Gérôme. It is known as Young Greeks Attending a Cock Fight, it is an example of the Neo-Grec style. It was one of Gérôme's first successes. After his failed attempt to win the Prix de Rome, Gérôme was hesitant to exhibit The Cock Fight out of fear for another setback, but was convinced by his teacher Paul Delaroche to enter it into the 1847 Salon, it was sold to Mr. Roux-Laborie; the art dealer Adolphe Goupil bought it from the widowed Countess H. de Bussat, born Laborie, in 1872 and sold it to the Musée du Luxembourg in 1873. From 1920 to 1986 it was at the Louvre, since 1986 it is housed at the Musée d'Orsay. Media related to Cock Fight at Wikimedia Commons
Jean-Léon Gérôme was a French painter and sculptor in the style now known as academicism. The range of his oeuvre included historical painting, Greek mythology, Orientalism and other subjects, bringing the academic painting tradition to an artistic climax, he is considered one of the most important painters from this academic period. He was a teacher with a long list of students. Jean-Léon Gérôme was born at Haute-Saône, he went to Paris in 1840. He visited Florence, the Vatican and Pompeii, but he was more attracted to the world of nature. Taken by a fever, he was forced to return to Paris in 1844. On his return, he followed, like many other students of Delaroche, into the atelier of Charles Gleyre and studied there for a brief time, he attended the École des Beaux-Arts. In 1846 he tried to enter the prestigious Prix de Rome, but failed in the final stage because his figure drawing was inadequate, his painting, The Cock Fight, is an academic exercise, depicting a nude young man and a draped young woman with two fighting cocks, the Bay of Naples in the background.
He sent this painting to the Salon of 1847. This work was seen as the epitome of the Neo-Grec movement that had formed out of Gleyre's studio, was championed by the influential French critic Théophile Gautier. Gérôme took advantage of his sudden success, his paintings The Virgin, the Infant Jesus and St John and Anacreon and Cupid took a second-class medal in 1848. In 1849, he produced A portrait of a Lady. In 1851, he decorated a vase offered by Emperor Napoleon III of France to Prince Albert, now part of the Royal Collection at St. James's Palace, London, he exhibited Bacchus and Love, Drunk, a Greek Interior and Souvenir d'Italie, in 1851. In 1852, Gérôme received a commission by Alfred Emilien Comte de Nieuwerkerke, Surintendant des Beaux-Arts to the court of Napoleon III, for the painting of a large historical canvas, the Age of Augustus. In this canvas he combines the birth of Christ with conquered nations paying homage to Augustus. Thanks to a considerable down payment, he was able to travel in 1853 to Constantinople, together with the actor Edmond Got.
This would be the first of several travels to the East: in 1854 he made another journey to Greece and Turkey and the shores of the Danube, where he was present at a concert of Russian conscripts, making music under the threat of a lash. In 1853, Gérôme moved to the Boîte à Thé, a group of studios in the Rue Notre-Dame-des-Champs, Paris; this would become a meeting place for other artists and actors. George Sand entertained in the small theatre of the studio the great artists of her time such as the composers Hector Berlioz, Johannes Brahms and Gioachino Rossini and the novelists Théophile Gautier and Ivan Turgenev. In 1854, he completed another important commission of decorating the Chapel of St. Jerome in the church of St. Séverin in Paris, his Last communion of St. Jerome in this chapel reflects the influence of the school of Ingres on his religious works. To the exhibition of 1855 he contributed a Pifferaro, a Shepherd, A Russian Concert, The Age of Augustus, the Birth of Christ; the last was somewhat confused in effect, but in recognition of its consummate rendering the State purchased it.
However the modest painting, A Russian Concert was more appreciated than his huge canvases. In 1856, he visited Egypt for the first time. Gérôme's recurrent itinerary followed the classic grand tour of most occidental visitors to the Orient; this would herald the start of many orientalist paintings depicting Arab religion, genre scenes and North African landscapes. In an autobiographical essay of 1878, Gérôme described how important oil sketches made on the spot were for him: "even when worn out after long marched under the bright sun, as soon as our camping spot was reached I got down to work with concentration, but Oh! How many things were left behind of which I carried only the memory away! And I prefer three touches of colour on a piece of canvas to the most vivid memory, but one had to continue on with some regret." He did not only gather themes and costumes for his oriental scenes, but made oil studies from nature for their backgrounds. Several of these quick sketches are filled with details that exceed his wished for three touches of colour.
Gérôme's reputation was enhanced at the Salon of 1857 by a collection of works of a more popular kind: the Duel: after the Masked Ball, Egyptian Recruits crossing the Desert and Sesostris and Camels Watering, the drawing of, criticized by Edmond About. In 1858, he helped to decorate the Paris house of Prince Napoléon Joseph Charles Paul Bonaparte in the Pompeian style; the prince had bought his Greek Interior, a depiction of a brothel in the Pompeian manner. In Caesar Gérôme tried to return to a more severe class of work, the painting of Classical subjects, but the picture failed to interest the public. Phryne before the Areopagus, King Candaules and Socrates finding Alcibiades in the House of Aspasia gave rise to some scandal by reason of the subject
Oil painting is the process of painting with pigments with a medium of drying oil as the binder. Used drying oils include linseed oil, poppy seed oil, walnut oil, safflower oil; the choice of oil imparts a range of properties to the oil paint, such as the amount of yellowing or drying time. Certain differences, depending on the oil, are visible in the sheen of the paints. An artist might use several different oils in the same painting depending on specific pigments and effects desired; the paints themselves develop a particular consistency depending on the medium. The oil may be boiled with a resin, such as pine resin or frankincense, to create a varnish prized for its body and gloss. Although oil paint was first used for Buddhist paintings by painters in western Afghanistan sometime between the fifth and tenth centuries, it did not gain popularity until the 15th century, its practice may have migrated westward during the Middle Ages. Oil paint became the principal medium used for creating artworks as its advantages became known.
The transition began with Early Netherlandish painting in Northern Europe, by the height of the Renaissance oil painting techniques had completely replaced the use of tempera paints in the majority of Europe. In recent years, water miscible. Water-soluble paints are either engineered or an emulsifier has been added that allows them to be thinned with water rather than paint thinner, allows, when sufficiently diluted fast drying times when compared with traditional oils. Traditional oil painting techniques begin with the artist sketching the subject onto the canvas with charcoal or thinned paint. Oil paint is mixed with linseed oil, artist grade mineral spirits, or other solvents to make the paint thinner, faster or slower-drying. A basic rule of oil paint application is'fat over lean', meaning that each additional layer of paint should contain more oil than the layer below to allow proper drying. If each additional layer contains less oil, the final painting will peel; this rule does not ensure permanence.
There are many other media that can be used with the oil, including cold wax and varnishes. These additional media can aid the painter in adjusting the translucency of the paint, the sheen of the paint, the density or'body' of the paint, the ability of the paint to hold or conceal the brushstroke; these aspects of the paint are related to the expressive capacity of oil paint. Traditionally, paint was transferred to the painting surface using paintbrushes, but there are other methods, including using palette knives and rags. Oil paint remains wet longer than many other types of artists' materials, enabling the artist to change the color, texture or form of the figure. At times, the painter might remove an entire layer of paint and begin anew; this can be done with a rag and some turpentine for a time while the paint is wet, but after a while the hardened layer must be scraped. Oil paint dries by oxidation, not evaporation, is dry to the touch within a span of two weeks, it is dry enough to be varnished in six months to a year.
Although the history of tempera and related media in Europe indicates that oil painting was discovered there independently, there is evidence that oil painting was used earlier in Afghanistan. Outdoor surfaces and surfaces like shields—both those used in tournaments and those hung as decorations—were more durable when painted in oil-based media than when painted in the traditional tempera paints. Most Renaissance sources, in particular Vasari, credited northern European painters of the 15th century, Jan van Eyck in particular, with the "invention" of painting with oil media on wood panel supports. However, Theophilus gives instructions for oil-based painting in his treatise, On Various Arts, written in 1125. At this period, it was used for painting sculptures and wood fittings especially for outdoor use. However, early Netherlandish painting with artists like Van Eyck and Robert Campin in the 15th century were the first to make oil the usual painting medium, explore the use of layers and glazes, followed by the rest of Northern Europe, only Italy.
Early works were still panel paintings on wood, but around the end of the 15th century canvas became more popular as the support, as it was cheaper, easier to transport, allowed larger works, did not require complicated preliminary layers of gesso. Venice, where sail-canvas was available, was a leader in the move to canvas. Small cabinet paintings were made on metal copper plates; these supports were more expensive but firm, allowing intricately fine detail. Printing plates from printmaking were reused for this purpose; the popularity of oil spread through Italy from the North, starting in Venice in the late 15th century. By 1540, the previous method for painting on panel had become all but extinct, although Italians continued to use chalk-based fresco for wall paintings, less successful and durable in damper northern climates; the linseed oil itself comes from a common fiber crop. Linen, a "support" for oil painting comes from the flax plant. Safflower oil or the walnut or poppyseed oil are sometimes used in formulating lighter colors li
Ferdinand Victor Eugène Delacroix was a French Romantic artist regarded from the outset of his career as the leader of the French Romantic school. As a painter and muralist, Delacroix's use of expressive brushstrokes and his study of the optical effects of colour profoundly shaped the work of the Impressionists, while his passion for the exotic inspired the artists of the Symbolist movement. A fine lithographer, Delacroix illustrated various works of William Shakespeare, the Scottish author Walter Scott and the German author Johann Wolfgang von Goethe. In contrast to the Neoclassical perfectionism of his chief rival Ingres, Delacroix took for his inspiration the art of Rubens and painters of the Venetian Renaissance, with an attendant emphasis on colour and movement rather than clarity of outline and modelled form. Dramatic and romantic content characterized the central themes of his maturity, led him not to the classical models of Greek and Roman art, but to travel in North Africa, in search of the exotic.
Friend and spiritual heir to Théodore Géricault, Delacroix was inspired by Lord Byron, with whom he shared a strong identification with the "forces of the sublime", of nature in violent action. However, Delacroix was given to neither sentimentality nor bombast, his Romanticism was that of an individualist. In the words of Baudelaire, "Delacroix was passionately in love with passion, but coldly determined to express passion as as possible." Together with Ingres, Delacroix is considered one of the last old Masters of painting, one of the few, photographed. Eugène Delacroix was born on 26 April 1798 at Charenton-Saint-Maurice near Paris, his mother was named the daughter of the cabinet-maker Jean-François Oeben. He had three much older siblings. Charles-Henri Delacroix rose to the rank of General in the Napoleonic army. Henriette married the diplomat Raymond de Verninac Saint-Maur. Henri was born six years later, he was killed at the Battle of Friedland on 14 June 1807. There are medical reasons to believe that Eugène's legitimate father, Charles-François Delacroix, was not able to procreate at the time of Eugène's conception.
Talleyrand, a friend of the family and successor of Charles Delacroix as Minister of Foreign Affairs, whom the adult Eugène resembled in appearance and character, considered himself as his real father. Throughout his career as a painter, he was protected by Talleyrand, who served successively the Restoration and king Louis-Philippe, as ambassador of France in Great Britain, by Talleyrand's grandson, Charles Auguste Louis Joseph, duc de Morny, half-brother of Napoleon III and speaker of the French House of Commons, his legitimate father, Charles Delacroix, died in 1805, his mother in 1814, leaving 16-year-old Eugène an orphan. His early education was at the Lycée Louis-le-Grand, at the Lycée Pierre Corneille in Rouen where he steeped himself in the classics and won awards for drawing. In 1815 he began his training with Pierre-Narcisse Guérin in the neoclassical style of Jacques-Louis David. An early church commission, The Virgin of the Harvest, displays a Raphael-esque influence, but another such commission, The Virgin of the Sacred Heart, evidences a freer interpretation.
It precedes the influence of the more colourful and rich style of the Flemish Baroque painter Peter Paul Rubens, fellow French artist Théodore Géricault, whose works marked an introduction to Romanticism in art. The impact of Géricault's The Raft of the Medusa was profound, stimulated Delacroix to produce his first major painting, The Barque of Dante, accepted by the Paris Salon in 1822; the work caused a sensation, was derided by the public and officialdom, yet was purchased by the State for the Luxembourg Galleries. Two years he again achieved popular success for his The Massacre at Chios. Delacroix's painting of the massacre at Chios shows sick, dying Greek civilians about to be slaughtered by the Turks. One of several paintings he made of this contemporary event, expressed the official policy for the Greek cause in their war of independence against the Turks, war sustained by English and French governments. Delacroix was recognized by the authorities as a leading painter in the new Romantic style, the picture was bought by the state.
His depiction of suffering was controversial, however, as there was no glorious event taking place, no patriots raising their swords in valour as in David's Oath of the Horatii, only a disaster. Many critics deplored the painting's despairing tone; the pathos in the depiction of an infant clutching its dead mother's breast had an powerful effect, although this detail was condemned as unfit for art by Delacroix's critics. A viewing of the paintings of John Constable and the watercolour sketches and art of Richard Parkes Bonnington prompted Delacroix to make extensive painted changes to the sky and distant landscape. Delacroix produced a second painting in support of the Greeks in their war for independence, this time referring to the capture of Missolonghi by Turkish forces in 1825. With a restraint of palette appropriate to the allegory, Greece Expiring on the Ruins of Missolonghi displays a woman in Greek costume with her breast bared, arms half-raised in an imploring gesture before the horrible scene: the suicide of the Greeks, who chose to kill themselves and destroy their city rather than surrender to the Turks.
A hand is seen at the bottom, the body having be
Darius Ogden Mills
Darius Ogden Mills was a prominent American banker and philanthropist. For a time, he was California's wealthiest citizen. Mills was born in North Salem, in Westchester County, New York, the fifth son of Hannah Ogden and James Mills, a supervisor and justice of the peace for the town of North Salem, his maternal grandfather was William Ogden, from Dutchess County and a member of the prominent Ogden family of New York and New Jersey. He was educated at Mt. Pleasant Academy. Shortly after his father's death in 1841, he began working as a clerk in a small general store in New York City at the age of 15. At age 21, he moved to Buffalo, New York, at the invitation of his cousin, Elihu J. Townsend, became the cashier of the Merchants' Bank of Erie County, a one third owner. In December 1848, he took an exploratory trip to California, through the Isthmus of Panama, where he joined the California Gold Rush, following two of his brothers and Edgar Mills. By November 1849, he had decided to make California his permanent home.
Therefore, in 1850, he returned to Buffalo where he sold his interest in the Bank and returned to Sacramento, where he founded his own bank, the "Gold Bank of D. O. Mills & Co." This was helped by a cousin from the English branch of the Mills family, Charles Mills, 1st Baron Hillingdon, who ran the Glyn, Mills & Co. bank in London. He never invested in gold mining or silver mining directly, as he considered mining to be too speculative, he rather started ancillary businesses that supported the mining industry, such as banks and railroads. He was a part owner of the Virginia and Truckee Railroad, the only link from the Comstock Lode to the Central Pacific Railroad; the major share holder in the railroad was William Sharon, whom William Ralston had sent to Virginia City as representative of the Bank of California. In 1864, with other investors, he founded the Bank of California, which grew large in the 1860s and 1870s, but collapsed due to financial irregularities involving its chief cashier, William Chapman Ralston.
Mills used his personal fortune to revive the bank, along with Sharon, attract new investment, within three years, the bank was again strong. In 1880, two years after resigning from his second term as the president of the Bank of California, Mills returned to New York, where he participated in the development of a number of buildings in Manhattan, including 160 Bleecker Street, or "Mills House No. 1". He invested in the Niagara Falls Power Company, one of the first large power companies organized in the United States, his devotion to philanthropy involved sitting on the boards of a number of charitable and cultural institutions. On September 5, 1854, he married Jane Templeton Cunningham, the daughter of Elizabeth Griffiths and Scottish born James C. Cunningham, a pioneer and shipowner. Together, they had a son and a daughter: Ogden Mills, who married Ruth T. Livingston, granddaughter of Maturin Livingston Elisabeth Mills, who married Whitelaw Reid, the U. S. Ambassador to Great Britain. Mills bought part of Rancho Buri Buri and built an estate named Millbrae, which gave its name to the present town that grew up around it.
The 150 acres of the original estate bordering San Francisco Bay were leased by his grandson Ogden L. Mills to be used for Mills Field, now known as San Francisco International Airport, he died of a heart attack in 1910 at his Millbrae home, leaving an estate worth $36,227,391. His remains were returned to the East Coast for burial in the Sleepy Hollow Cemetery in Sleepy Hollow, New York. A number of local institutions are named for him, include Isabella I of Castile Mills Hospital, the Mills Estate housing subdivision, San Francisco's Mills Building, Mills High School; the city of Millbrae, California, is named after him, as well. The California State Capitol rotunda houses a statue donated by Mills that depicts Queen Isabella financing Christopher Columbus's initial voyage; the San Francisco airport, was named Mills Field, after him. November 27, 1898 The New York Times feature article on Darius Ogden Mills January 4, 1910 Los Angeles Times obituary for Darius Ogden Mills