The tricyclic ring isoalloxazine, from which flavins are derived

Riboflavin

Flavin (from Latin flavus, "yellow") is the common name for a group of organic compounds based on pteridine, formed by the tricyclic heteronuclear organic ring isoalloxazine. The biochemical source is the vitamin riboflavin. The flavin moiety is often attached with an adenosine diphosphate to form flavin adenine dinucleotide (FAD), and, in other circumstances, is found as flavin mononucleotide (or FMN), a phosphorylated form of riboflavin. It is in one or the other of these forms that flavin is present as a prosthetic group in flavoproteins.

The flavin group is capable of undergoing oxidation-reduction reactions, and can accept either one electron in a two-step process or two electrons at once. Reduction is made with the addition of hydrogen atoms to specific nitrogen atoms on the isoalloxazine ring system:

Equilibrium between the oxidized (left) and totally reduced (right) forms of flavin.

In aqueous solution, flavins are yellow-coloured when oxidized, taking a red colour in the semi-reduced anionic state or blue in the neutral (semiquinone) state, and colourless when totally reduced.^[1] The oxidized and reduced forms are in fast equilibrium with the semiquinone (radical) form, shifted against the formation of the radical:^[2]

Fl_ox + Fl_redH₂ ⇌ FlH^•

where Fl_ox is the oxidized flavin, Fl_redH₂ the reduced flavin (upon addition of two hydrogen atoms) and FlH^• the semiquinone form (addition of one hydrogen atom).

In the form of FADH₂, it is one of the cofactors that can transfer electrons to the electron transfer chain.

Photoreduction[link]

Both free and protein-bound flavins are photoreducible, that is, able to be reduced by light, in a mechanism mediated by several organic compounds, such as some aminoacids, carboxylic acids and amines.^[2]

FAD[link]

FAD

Flavin adenine dinucleotide is a group bound to many enzymes including ferredoxin-NADP+ reductase, monoamine oxidase, D-amino acid oxidase, glucose oxidase, xanthine oxidase, and acyl CoA dehydrogenase.

[edit] FADH/FADH₂

FADH and FADH₂ are reduced forms of FAD. FADH₂ is produced as a prosthetic group in succinate dehydrogenase, an enzyme involved in the citric acid cycle. In oxidative phosphorylation, two molecules of FADH₂ typically yield 1.5 ATP each, or three ATP combined.

FMN[link]

FMN

Flavin mononucleotide is a prosthetic group found in, among other proteins, NADH dehydrogenase, E.coli nitroreductase and old yellow enzyme.

See also[link]

• Pteridine
• Pterin

References[link]

• Voet, D.; Voet, J.G. (2004). Biochemistry (3rd ed.). John Wiley & Sons. ISBN 0-471-39223-5

Dan Flavin (April 1, 1933, Jamaica, New York – November 29, 1996, Riverhead, New York) was an American minimalist artist famous for creating sculptural objects and installations from commercially available fluorescent light fixtures.

Early life and career[link]

Daniel Nicholas Flavin Jr. was born in New York of Irish Catholic descent and sent to Catholic schools.^[1] He studied for the priesthood at the Immaculate Conception Preparatory Seminary in Brooklyn between 1947 and 1952 before leaving to join his fraternal twin brother, David John Flavin, and enlist United States Air Force.^[2] During military service in 1954–55, Flavin was trained as a air weather meteorological technician^[3] and studied art through the adult extension program of the University of Maryland in Korea.^[4] Upon his return to New York in 1956, Flavin briefly attended the Hans Hofmann School of Fine Arts and studied art under Albert Urban. He later studied art history for a short time at the New School for Social Research, then moved on to Columbia University, where he studied painting and drawing.^[5]

From 1959, Flavin was shortly employed as a mailroom clerk at the Guggenheim Museum and later as guard and elevator operator at the Museum of Modern Art, where he met Sol LeWitt, Lucy Lippard, and Robert Ryman.^[6] Two years later, he married his first wife Sonja Severdija, an art history student at New York University and assistant office manager at the Museum of Modern Art.^[7]

Flavin married his second wife, the artist Tracy Harris, in a ceremony at the Guggenheim Museum, in 1992.^[8]

Flavin died in Riverhead, New York. His estate is represented by David Zwirner, New York.

Work[link]

Early work[link]

Flavin’s first works were drawings and paintings that reflected the influence of Abstract Expressionism. In 1959, he began to make assemblages and mixed media collages that included found objects from the streets, especially crushed cans.^[9][10]

In the summer of 1961, while working as a guard at the American Museum of Natural History in New York, Flavin started to make sketches for sculptures that incorporated electric lights.^[11] The first works to incorporate electric light were his "Icons" series: eight colored shallow, boxlike square constructions made from various materials such as wood, Formica, or Masonite. Constructed by the artist and his then-wife Sonja, the Icons had fluorescent tubes with incandescent and fluorescent bulbs attached to their sides, and sometimes beveled edges. One of these icons was dedicated to Flavin's twin brother David, who died of polio in 1962.^[12] "

Mature work[link]

One of Flavin's last works was the lighting for a glass-enclosed arcade (1996) at the Wissenschaftspark Rheinelbe (Rhine-Elbe Science Park) in Gelsenkirchen, Germany. The arcade was designed by Uwe Kiessler; it stretches 300 metres (980 ft), and connects nine buildings.^[13]

The "Diagonal of Personal Ecstasy (the Diagonal of May 25, 1963)," a yellow fluorescent placed on a wall at a 45-degree angle from the floor and completed in 1963, was Flavin's first mature work; it is dedicated to Constantin Brâncuşi and marks the beginning of Flavin's exclusive use of commercially available fluorescent light as a medium. He confined himself to a limited palette (red, blue, green, pink, yellow, ultraviolet, and four different whites^[14]) and form (straight two-, four-, six-, and eight-foot tubes, and, beginning in 1972, circles).^[15] In the decades that followed, he continued to use fluorescent structures to explore color, light and sculptural space, in works that filled gallery interiors. He started to reject studio production in favor of site-specific “situations” or “proposals” (as the artist preferred to classify his work).^[16] These structures cast both light and an eerily-colored shade, while taking a variety of forms, including "corner pieces", "barriers," and "corridors." Most of Flavin's works were untitled, followed by a dedication in parenthesis to friends, artists, critics and others: the most famous of these include his "Monuments to V. Tatlin," an homage to the Russian constructivist sculptor Vladimir Tatlin, a series of a total of fifty pieces which he continued to work on between 1964 and 1990.

Flavin realized his first full installation piece, greens crossing greens (to Piet Mondrian who lacked green), for an exhibition at the Van Abbemuseum, Eindhoven, Netherlands, in 1966.^[17] Flavin's "corridors", for example, control and impede the movement of the viewer through gallery space. They take various forms: some are bisected by two back-to-back rows of abutted fixtures, a divider that may be approached from either side but not penetrated (the color of the lamps differs from one side to the other). The first such corridor, untitled (to Jan and Ron Greenberg), was constructed for a 1973 solo exhibition at the St. Louis Art Museum, and is dedicated to a local gallerist and his wife. It is green and yellow; a gap (the width of a single "missing" fixture) reveals the cast glow of the color from beyond the divide. In subsequent barred corridors, Flavin would introduce regular spacing between the individual fixtures, thereby increasing the visibility of the light and allowing the colors to mix.^[18]

By 1968, Flavin had developed his sculptures into room-size environments of light. That year, he outlined an entire gallery in ultraviolet light at Documenta 4 in Kassel, Germany. In 1992, Flavin’s original conception for a 1971 piece was fully realized in a site-specific installation that filled the Solomon R. Guggenheim Museum's entire rotunda on the occasion of the museum’s reopening.

Permanent installations[link]

From 1975, Flavin installed permanent works in Europe and the United States, including the Rijksmuseum Kröller-Müller Museum, Otterlo, Netherlands (1977); Hudson River Museum, Yonkers, New York (1979); United States Courthouse, Anchorage, Alaska (1979-89); the Staatliche Kunsthalle Baden-Baden, Germany (1989); the lobby of the MetroTech Center (with Skidmore Owings & Merrill), Brooklyn, New York (1992); seven lampposts outside the Städtische Galerie im Lenbachhaus, Munich (1994); Hypovereinsbank, Munich (1995); Institut Arbeit und Technik/Wissenschaftspark, Gelsenkirchen, Germany (1996); and the Union Bank of Switzerland, Bern (1996). Additional sites for Flavin's architectural “interventions” became the Grand Central Station in New York (1976), Hamburger Bahnhof in Berlin (1996), and the Chinati Foundation in Marfa, Texas (2000). His large-scale work in colored fluorescent light for six buildings at the Chinati Foundation was initiated in the early 1980s, although the final plans were not completed until 1996.^[19] His last artwork was a site-specific work at Santa Maria Annunciata in Chiesa Rossa, Milan, Italy. The 1930s church was designed by Giovanni Muzio. The design for the piece was completed two days before Flavin's death on November 29, 1996. Its installation was completed one year later with the assistance of the Dia Center for the Arts and Fondazione Prada.^[20]

The Menil Collection in Houston, Texas states that in 1990 Dominique de Menil approached Flavin to create a permanent, site-specific installation at Richmond Hall. Just two days before his death in November 1996 Flavin completed the design for the space. The artist’s studio completed the work.^[21]

Drawing[link]

Living in Wainscott and Garrison, Flavin often drew the surrounding landscape, whether it was the Hudson Valley or the waters off Long Island. He also made small portraits and kept about 20 volumes of journals. Flavin collected drawings too, including works by Hudson River School artists like John Frederick Kensett, Jasper Francis Cropsey, and Sanford Robinson Gifford, along with examples of works on paper by early-19th-century Japanese artists like Hokusai and 20th-century European masters like Piet Mondrian and George Grosz. Flavin also exchanged works with Minimalist colleagues like Donald Judd and Sol LeWitt.^[22]

Exhibitions[link]

Flavin's first one-person exhibition using only fluorescent light opened at the Green Gallery in 1964. Two years later, his first European show opened at Rudolf Zwirner's gallery in Cologne, Germany. The first major retrospective of Flavin’s work was organized by the National Gallery of Canada, Ottawa in 1969. In 1973 the Saint Louis Art Museum presented concurrent exhibitions of his works on paper and fluorescent sculptures. Among Flavin’s many significant one-person exhibitions in Europe were shows at the Kunstmuseum Basel and Kunsthalle Basel (1975), the Staatliche Kunsthalle, Baden-Baden (1989), and the Städel, Frankfurt (1993).

In the late 1970s, he began a partnership with the Dia Art Foundation that resulted in the making of several permanent site-specific installations and led most recently to the organization of the traveling exhibition, Dan Flavin: A Retrospective (2004–2007).^[23] Flavin’s retrospective exhibition traveled to the Museum of Contemporary Art, Chicago; the National Gallery of Art, Washington, D.C.; the Museum of Modern Art, Fort Worth, Texas; Hayward Gallery, London; Musée d'Art Moderne de la Ville de Paris, Paris; Bayerische Staatsgemäldesammlungen, Pinakothek der Moderne, Munich; and the Los Angeles County Museum of Art, Los Angeles.^[24][25] This exhibition was the first comprehensive retrospective devoted to his minimalist work. The exhibition included nearly 45 light works, including his "icons" series. The MCA's presentation included the re-creation of the alternating pink and "gold" room from the original MCA exhibition in 1967, Flavin's first solo museum exhibition.^[26]

His first solo exhibition in Latin America was held at Fundación Proa, Buenos Aires, in 1998, organized with the Dia Art Foundation (Dan Flavin. 1933-96).

Recognition[link]

In 1964, Flavin received an award from the William and Norma Copley Foundation, Chicago, with a recommendation from Marcel Duchamp.^[27] In 1973, he was named Albert Dorne Visiting Professor at the University of Bridgeport, Connecticut, and in 1976, he was given the Skowhegan Medal of Sculpture from Skowhegan School of Painting and Sculpture, Maine. In 1983, the Dia Center for the Arts opened the Dan Flavin Art Institute in Bridgehampton, New York, a permanent exhibition of his works, designed by the artist in a converted firehouse.^[28]

Art market[link]

When financial assistance for projects sponsored by the Dia Art Foundation were suspended in 1986, Flavin began, with the encouragement of the Leo Castelli Gallery, affiliations with a number of American and European galleries, including the Margo Leavin Gallery, Los Angeles; the Donald Young Gallery, Chicago; the Texas Gallery, Houston; Annemarie Verna Galerie, Zürich; and Galerie Nikki Diana Marquardt, Paris. In 1991, he also began a brief affiliation with the Pace Gallery, New York.^[29] In his later years, he was represented primarily by the Green Gallery, Kornblee Gallery, Dwan Gallery, John Weber Gallery, Leo Castelli Gallery, and PaceWildenstein. Since 2010, Dan Flavin's estate has been represented by David Zwirner.

In 2004, Flavin's work Untitled ("monument" for V. Tatlin) (1964–1965) was sold for $735,500 at Christie's, New York.

Collections[link]

[edit] Sculptures in collections^[30][31]

United States[link]

Arizona

• untitled (in memory of "Sandy" Calder) V 1/5, 1977, Private Collector, Scottsdale

California

• untitled (to Marianne), 1970, San Diego Museum of Contemporary Art, La Jolla
• monument for V Tatlin, 1969, Museum of Contemporary Art, Los Angeles
• untitled (to Robert, Joe, and Michael), 1975–82, Museum of Contemporary Art, Los Angeles
• untitled (to Charles Cowles), 1963, Museum of Contemporary Art, Los Angeles
• Mrs. Reppin's survival, 1966, Norton Simon Museum, Pasadena
• untitled 1/3, 1969, Norton Simon Museum, Pasadena

Colorado

• untitled (for A. C.), 1992, Denver Art Museum, Denver

District of Columbia

• untitled, 1980, Administered by United States General Services Administration, Art-in-Architecture Program, Washington
• "monument" for V. Tatlin 1/5, 1968, National Gallery of Art, Washington
• "monument" for V. Tatlin 4/5, 1969–70, National Gallery of Art, Washington
• untitled (to Barnett Newman to commemorate his simple problem, red, yellow, and blue) 4/5, 1969–70, National Gallery of Art, Washington

Illinois

• untitled (monument for V. Tatlin), 1970, Private Collector, Chicago
• the alternate diagonals of March 2, 1964 (to Don Judd), 1964, Private Collector, Chicago

Iowa

• untitled (for Ellen), Des Moines Art Center, Des Moines

Massachusetts

• Barbara Roses, 1962–1965, Smith College, Smith College Museum of Art, Northampton

Michigan

• "monument" for V. Tatlin, 1969, Detroit Institute of Arts, Detroit

Minnesota

• untitled, 1963, Walker Art Center, Minneapolis
• untitled, 1966, Walker Art Center, Minneapolis
• "monument" for V. Tatlin 3/5, 1969, Walker Art Center, Minneapolis

Nebraska

• untitled, 1964, University of Nebraska-Lincoln, Sheldon Memorial Art Gallery and Sculpture Garden, Lincoln

New Hampshire

• untitled (To Elita and her baby, Cintra), 1970, Dartmouth College, Hood Museum of Art, Hanover

New York

• gold, pink and red, red 2/3, 1964, Dia Art Foundation, Beacon
• monument 4 for those who have been killed in ambush (to P.K. who reminded me about death) 2/3, 1966, Dia Art Foundation, Beacon
• the diagonal of May 25, 1963 (to Constantin Brâncuşi) 3/3, 1963, Dia Art Foundation, Beacon first entirely fluorescent work
• the nominal three (to William of Ockham) 2/3, 1963, Dia Art Foundation, Beacon
• untitled (to a man, George McGovern) 2 2/3, 1972, Dia Art Foundation, Beacon
• untitled (to the real Dan Hill) 1b 1/5, 1978, Dia Art Foundation, Beacon
• untitled, 1996, Dia Art Foundation, Beacon
• red out of a corner (to Annina) 3/3, 1963, Dan Flavin Art Institute, Bridgehampton
• untitled 2/3, 1976, Dan Flavin Art Institute, Bridgehampton
• untitled (to Robert, Joe and Michael) 2/3, 1975–81, Dan Flavin Art Institute, Bridgehampton
• untitled (to Jan and Ron Greenberg) 2/3, 1972–73, Dan Flavin Art Institute, Bridgehampton
• untitled (in honor of Harold Joachim) 3 1/3, 1977, Dan Flavin Art Institute, Bridgehampton
• untitled (to Katharina and Christoph), [from the series to European couples] 1/5, 1971, Dan Flavin Art Institute, Bridgehampton
• untitled (to Jim Schaeufele) 1 1/3, 1972, Dan Flavin Art Institute, Bridgehampton
• untitled (to Jim Schaeufele) 2 1/3, 1972, Dan Flavin Art Institute, Bridgehampton
• untitled (to Jim Schaeufele) 3 1/3, 1972, Dan Flavin Art Institute, Bridgehampton
• "monument" for V. Tatlin, 1964, Museum of Modern Art, New York
• pink out of a corner - to Jasper Johns, 1963, Museum of Modern Art, New York
• untitled (to the "Innovator" of Wheeling Peachblow) 2/3, 1968, Museum of Modern Art, New York
• untitled, 1968, Museum of Modern Art, New York
• three fluorescent tubes, 1963, Private Collector, New York
• icon V (Coran's Broadway flesh), 1962, Private Collector, New York
• icon VIII (to Blind Melon Jefferson), 1962, Private Collector, New York
• "monument" for V. Tatlin 1/5, 1964, Private Collector, New York
• "monument" for V. Tatlin 4/5, 1964, Private Collector, New York
• untitled (to Henri Matisse) 3/3, 1964, Private Collector, New York
• untitled (for Ad Reinhardt) 1b 1/5, 1990, Private Collector, New York
• greens crossing greens (to Piet Mondrian who lacked green), 1966, Solomon R. Guggenheim Museum, New York
• the nominal three (to William of Ockham), 1963, Solomon R. Guggenheim Museum, New York
• untitled (to Tracy, to celebrate the love of a lifetime), 1992, Solomon R. Guggenheim Museum, New York
• untitled (to Ward Jackson, and old friend and colleague who, during the Fall of 1957 when I finally returned to New York from Washington and joined him to work together in this museum, kindly communicated), 1971, Solomon R. Guggenheim Museum, New York
• untitled (for Robert, with fond regards), 1977, Whitney Museum of American Art, New York
• untitled, 1966, Whitney Museum of American Art, New York
• untitled, 1966, Whitney Museum of American Art, New York

North Carolina

• untitled, 1971, Mint Museum of Art, Charlotte

Ohio

• untitled (to Janie Lee) one, 1971, Columbus Museum of Art, Columbus
• untitled (Fondly to Helen), 1976, Private Collector, Cincinnati
• untitled (to Ellen Johnson, fondly), 1975, Oberlin College, Allen Memorial Art Museum, Oberlin

Oregon

• untitled (To Donna) II , 1971, Portland Art Museum
• untitled (for Robert Ryman) 2/5, 1996, Miller-Meigs Collection, Portland

Texas

• alternate diagonals of March 2, 1964 (to Don Judd) 2/3, 1964, Dallas Museum of Art, Dallas
• diagonal of May 25, 1963 (to Constantin Brâncuşi) 2/3, 1963, Fort Worth Art Museum, Fort Worth
• monument 1 for V. Tatlin, 1964, Menil Collection, Houston
• untitled (to Barbara Wood), 1970, Menil Collection, Houston
• untitled frieze, 1996, Menil Collection, Richmond Hall, Houston
• untitled foyer, 1996, Menil Collection, Richmond Hall, Houston
• untitled interior, 1996, Menil Collection, Richmond Hall, Houston
• icon III, 1962, Chinati Foundation, Marfa
• icon VI (Ireland dying)(to Louis Sullivan), 1962, Chinati Foundation, Marfa

Washington

• untitled (To Donna), 1973, Private Collector, Seattle

International[link]

Canada

• the alternate diagonals of March 2, 1964 (To Don Judd), 1964, Art Gallery of Ontario, Toronto, Ontario
• untitled corner piece, Art Gallery of Ontario, Toronto, Ontario
• "monument" for V. Tatlin, 1969–1970, National Gallery of Canada, Ottawa, Ontario
• "monument" for V. Tatlin, 1968, National Gallery of Canada, Ottawa, Ontario
• untitled (to Barnett Newman to commemorate his simple problem, red, yellow and blue), 1970, National Gallery of Canada, Ottawa, Ontario
• untitled, 1971, Winnipeg Art Gallery, Winnipeg, Manitoba

France

• "monument" for V. Tatlin, 1975, Musee National d'Art Moderne, Centre Georges-Pompidou, Paris
• untitled (To Donna) 5a, 1971, Musee National d'Art Moderne, Centre Georges-Pompidou, Paris

Switzerland

• Hallen für Neue Kunst Schaffhausen, Switzerland

United Kingdom

• "monument" to V. Tatlin, 1975, Gallery of Modern Art, Edinburgh, Scotland
• monument for V. Tatlin, 1966–1969, Tate Gallery, London
• untitled, 1969, Tate Gallery, London
• a primary picture 2/3, 1964, Hermes Trust U.K., London
• untitled (to Lucie Rie, master potter) 1c 2/5, 1990, Waddington Galleries Ltd., London
• untitled (to Lucie Rie, master potter) 1jjj 2/5, 1990, Waddington Galleries Ltd., London
• untitled (to Lucie Rie, master potter) 1o 1/5, 1990, Waddington Galleries Ltd., London

Estate Collection[link]

• icon I (the heart) (to the light of Sean McGovern which blesses everyone), 1961
• icon II (the mystery) (to John Reeves), 1961
• pink out of a corner - to Jasper Johns, 1963
• "monument" 1 for V. Tatlin, 1964, Sonja Flavin collection
• Corner Monument 4, 1966
• "monument" for V. Tatlin, 1967
• "monument" for V. Tatlin, 1967
• untitled (to Janie Lee) one, 1971
• untitled (to Emily), 1973
• untitled (to you, Heiner, with admiration and affection), 1973
• untitled (in honor of Harold Joachim) 3, 1977
• "monument" for V. Tatlin, 1981
• untitled (to Piet Mondrian), 1985
• untitled (for Donald Judd, colorist) 1, 1987
• untitled (for Donald Judd, colorist) 2, 1987
• untitled (for Donald Judd, colorist) 3, 1987
• untitled (for Donald Judd, colorist) 4, 1987
• untitled (for Donald Judd, colorist) 5, 1987
• untitled, 1989
• untitled (for Ad Reinhardt) 2b, 1990

See also[link]

• Santa Maria Annunciata in Chiesa Rossa in Milan, Italy, last Dan Flavin's artwork.

References[link]

1. ^ Paul Levy (February 3, 2006), A radiant Dan Flavin retrospective Wall Street Journal.
2. ^ Paul Levy (February 3, 2006), A radiant Dan Flavin retrospective Wall Street Journal.
3. ^ Dan Flavin: A Retrospective, October 3, 2004–January 9, 2005 National Gallery of Art, Washington, D.C.
4. ^ http://www.guggenheim.org/new-york/collections/collection-online/show-full/bio/?artist_name=Dan%20Flavin&page=1&f=Name&cr=3
5. ^ Daniel Marzona and Uta Grosenick. Minimal Art," Taschen, 2004, p14
6. ^ http://www.davidzwirner.com/danflavin/
7. ^ diacenter.org accessed August 25, 2007
8. ^ New York Times, June 26, 1992. Abstract available at nytimes.com
9. ^ http://www.paulacoopergallery.com/exhibitions/391
10. ^ Dan Flavin: A Retrospective, October 3, 2004–January 9, 2005 National Gallery of Art, Washington, D.C.
11. ^ http://www.guggenheim.org/new-york/collections/collection-online/show-full/bio/?artist_name=Dan%20Flavin&page=1&f=Name&cr=3
12. ^ Tiffany Bell, diacenter.org accessed August 25, 2007
13. ^ Bell, Tiffany; Govan, Michael; Powell, Earl A.; Smith, Brydon; Weiss, Jeffrey (2004). Dan Flavin: the complete lights, 1961-1996. Yale University Press. p. 410. ISBN 978-0-300-10633-6. http://books.google.com/books?id=14H6gpbn4SMC&pg=PA410. "For a large complex of office buildings called Wissenschaftspark Rheinelbe in Gelsenkirchen, Germany, designed by Uwe Kiessler of the architectural firm Kiessler + Partner, Flavin was commissioned to light an enclosed arcade. This passageway, which has a large glass facade with sections that can be opened in warm weather, connects nine buildings. On three unobstructed walls that enclose elevator shafts, Flavin placed vertical structures made of two parallel, adjacent rows of six 4-foot (122 cm) fixtures each, all with blue lamps. Intersecting at the 4-foot intervals, six 4-foot fixtures with green lamps were placed horizontally to form a cross-like pattern. At the top of one large wall, near the main entrance but after the first elevator shaft, is a horizontal row of thirteen 4-foot fixtures with green lamps. They are mounted on the wall at the ceiling joint. This work was installed shortly before Flavin's death, although the building did not open officially until 1997." 
14. ^ Adrian Searle (January 24, 2006), Strip tease The Guardian.
15. ^ Dan Flavin: A Retrospective, October 3, 2004–January 9, 2005 National Gallery of Art, Washington, D.C.
16. ^ Dan Flavin, untitled (to Ward Jackson, an old friend and colleague who, during the Fall of 1957 when I finally returned to New York from Washington and joined him to work together in this museum, kindly communicated) (1971) Guggenheim Collection.
17. ^ Dan Flavin, untitled (to Jan and Ron Greenberg) (1972-73) Guggenheim Collection.
18. ^ Dan Flavin, untitled (to Jan and Ron Greenberg) (1972-73) Guggenheim Collection.
19. ^ Dan Flavin, untitled (Marfa project) (1996) Chinati Foundation, Marfa.
20. ^ "Dan Flavin", brochure, S. Maria in Chiesa Rossa, Fondazione Prada, Dia Center for the Arts, 1997. Essay by Michael Govan.
21. ^ Menil Collection at
22. ^ Carol Vogel (December 22, 2011), The Morgan Will Show Another Side of Flavin New York Times.
23. ^ THE ESTATE OF DAN FLAVIN IS NOW EXCLUSIVELY REPRESENTED BY DAVID ZWIRNER David Zwirner Gallery, September 2010.
24. ^ "Dan Flavin: Series and Progressions". NY Art Beat. http://www.nyartbeat.com/event/2009/5185. Retrieved 2011-06-13. 
25. ^ "Dan Flavin: Series and Progressions". Press Release. David Zwirner Gallery. 2009-10-09. http://www.davidzwirner.com/resources/47900/new%20pic%20Flavin2009_PR%20FINAL%20with%20Flavin%20statement.pdf. Retrieved 2011-06-13. 
26. ^ Victor M. Cassidy (2005). "No Trespassing: The Art of Dan Flavin". Artnet. http://www.artnet.com/magazineus/reviews/cassidy/cassidy8-4-05.asp. Retrieved 2011-08-04. 
27. ^ Dan Flavin David Zwirner Gallery, New York.
28. ^ http://www.diacenter.org/sites/main/danflavinartinstitute
29. ^ Dan Flavin David Zwirner Gallery, New York.
30. ^ Govan and Bell, Dan Flavin: A Retrospective, Yale University Press, 2004
31. ^ diacenter.org accessed June 6, 2008

Bibliography[link]

Govan, Michael and Bell, Tiffany. "Dan Flavin: The Complete Lights, 1961-1996." Yale University Press, New Haven, CT. 2004.

External links[link]

• The Estate of Dan Flavin at David Zwirner
• Series and Progressions at David Zwirner
• Dan Flavin: A Retrospective, The National Gallery of Art
• The Dan Flavin Art Institute
• Dan Flavin at Dia:Beacon
• Villa & Panza Collection: Dan Flavin - Varese Corridor
• Museum of Modern Art, Dan Flavin Images
• Guggenheim Museum, Dan Flavin
• S. Maria Annunciata in Chiesa Rossa, Dan Flavin's last artwork

Mick Flavin is an Irish country singer. Flavin recorded his first album in Athlone in June, 1986. His first big hit being "I'm Gonna Make It After All". Flavin has also recorded Someday You'll Love Me, from Conway Twitty's album Even Now.

Personal life[link]

Mick is married to Mary and has two sons.

Discography[link]

Someday You'll Love Me
I'm Gonna Make It After All
Athlone
Dance With Me(One More Time)
Longford On My Mind
When I Lay Me Down
I'll Be There(If You Ever Want Me)
Streets of Bakersfield
The Lights of Home
Pretty Little Girl From Omagh
The Old School Yard
I Heard The Bluebird Sing, with Sandy Kelly
Home to Donegal
To Old To Die Young
Native Town Drumlish
Blue Hills of Breffni
Adalida
Sam's Place
Radio Lover
The Rarest Flowers
You Sure Make Cheatin Seem Easy
Light in The Church
Yours To Hurt Tommorow
Lady, She's Right
Wild Flowers
Nobody's Darlin' But Mine, with Isla Grant
I'll Be There my Dear

External links[link]

• Official site

The Right Honourable Vincent Massey PC CH CC CD FRSC(hon)
File:VincentMassey.jpg
18th Governor General of Canada
In office February 28, 1952 – September 15, 1959
Monarch	Elizabeth II
Prime Minister	Louis St. Laurent John Diefenbaker
Preceded by	The Viscount Alexander of Tunis
Succeeded by	Georges Vanier
More...
Personal details
Born	Charles Vincent Massey (1887-02-20)February 20, 1887 Toronto, Ontario
Died	December 30, 1967(1967-12-30) (aged 80) London, United Kingdom
Spouse(s)	Alice Massey
Children	Lionel Chester Hart Massey (1916-1965) Hart Parkin Vincent Massey II (1918-1996)
Profession	Diplomat
Religion	Methodist/United, then Anglican
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Charles Vincent Massey PC CH CC CD FRSC(hon)^{[n 1]} (February 20, 1887 – December 30, 1967) was a Canadian lawyer and diplomat who served as Governor General of Canada, the 18th since Canadian Confederation.

Massey was born into an influential Toronto family and was educated in Ontario and England, obtaining a degree in law and befriending future prime minister William Lyon Mackenzie King while studying at the University of Oxford. He was commissioned into the military in 1917 for the remainder of the First World War, and after a brief stint in the Canadian Cabinet began his diplomatic career, serving in envoys to the United States and United Kingdom. Upon his return to Canada in 1946, Massey headed a royal commission on the arts between 1949 and 1951, which resulted in the Massey Report, and subsequently the establishment of the National Library of Canada and the Canada Council of the Arts, amongst other grant-giving agencies. He was in 1952 appointed as governor general by George VI, king of Canada, on the recommendation of Prime Minister of Canada Louis St. Laurent, to replace the Viscount Alexander of Tunis as viceroy, and he occupied the post until succeeded by Georges Vanier in 1959. Massey was the first Canadian-born individual to serve as Canada's governor general and he proved to be a successful transition for the office away from occupants who had consistently been both members of the peerage and born overseas.

On September 16, 1925, Massey was sworn into the Queen's Privy Council for Canada,^[3] giving him the accordant style of The Honourable; however, as a former governor general of Canada, Massey was entitled to be styled for life with the superior form of The Right Honourable. He subsequently continued his philanthropic work and founded Massey College at the University of Toronto and the Massey Lectures before he died on December 30, 1967.

Early life, education, and career[link]

Massey was born in Toronto, Ontario, as the son of Anna (née Vincent) and Chester Daniel Massey, the owner of the Massey-Harris Co. (predecessor company to the Massey-Ferguson Tractor Company), and the patriarch of one of the city's wealthiest families. The clan was strongly Methodist, and played an important role in supporting local religious, cultural, and educational organisations, including Victoria University, Massey Hall, and the Metropolitan Methodist Church (now the Metropolitan United Church). Massey was thus raised amongst Toronto's elite, which would give him a number of social and familial connections throughout his life, as occurred with his younger brother, Raymond Massey, and his children, Anna Massey and Daniel Massey.

The Gate House of Burwash Hall, a residence of Victoria College donated by Massey's father, and where Massey served as the first Dean of Men

Massey was raised in the family's mansion at 519 Jarvis Street,^[4] and educated at St. Andrew's College, in Aurora, Ontario, before enrolling in University College in the University of Toronto (UofT), though his family had close ties to Victoria College. There, he in 1907 enlisted in The Queen's Own Rifles of Canada and joined the Kappa Alpha Society,^[5] through which he met his long-time friend, and future prime minister of Canada, William Lyon Mackenzie King. After passing matriculation three years later with his Bachelor of Arts degree in history and English,^[6] Massey then went on to continue his education at Balliol College at the University of Oxford, earning his Master of Arts in history.^[6][7]

Feeling since his time as an undergraduate at UofT that the institution lacked a facility where its 4,000 students could engage in extracurricular activities, in 1911 Massey donated $16,290 to augment the money students had already raised for building a student centre,^[8] and thereafter led the endowment and construction efforts.^[6] In 1913, he returned to Toronto and became the first Dean of Men at the Victoria University residence his father had recently donated, Burwash Hall, as well as a lecturer on modern history at the college.^[7][8] Then, on June 4, 1915, Massey married Alice Parkin, the daughter of Sir George Robert Parkin, who was a former principal of Upper Canada College (UCC) and secretary of the Rhodes Trust; through the marriage, Massey later became the uncle of George Grant, and the great-uncle to Michael Ignatieff. But, he was not with his new bride long before, at the end of 1914, the United Kingdom, and thus Canada along with it, had declared war on Germany. Massey was commissioned as an officer for Military District No. 2, and was called to work for the Cabinet war committee before being discharged at the cessation of hostilities in 1918.^[9]

Once again a civilian, Massey started in 1921 as president of his father's business, while simultaneously pursuing philanthropic interests, mostly in arts and education, such as his collecting paintings and sculpture through his Massey Foundation, which he established in 1918. By the next year, UofT's social and athletic facility was complete and dedicated in memory of Massey's grandfather, Hart Massey, as Hart House; there, while he headed Massey-Harris Co., Massey participated as an amateur actor and director in the building's theatre.^[8] But, in 1925 he resigned from the corporate life he was unsuited for, and, as a friend of the then prime minister of Canada, Mackenzie King, Massey was appointed on September 16, by Governor General The Viscount Byng of Vimy, to the King's Privy Council, and was subsequently made a minister without portfolio in the Cabinet. It was desired that Massey, as a minister, hold a seat in the House of Commons, yet he failed to win his riding of Durham in the 1925 federal election,^[7] held on October 29. Though he thereafter resigned his cabinet post, Massey was still included in the Canadian delegation to the 1926 Imperial Conference,^[8] where was drafted the Balfour Declaration that would ultimately lead to vast constitutional changes in the role of the monarch and his viceroys throughout the former empire.

Diplomatic career[link]

Massey (right), William Phillips (left), and Charles Lindbergh outside Rideau Hall in July 1927

A satirical cartoon created by J. E. H. MacDonald to mark the appointment of Massey as Canadian minister to the United States, and presented to Massey on February 5, 1927^{[n 2]}

Later in 1926, on November 25, Governor General the Marquess of Willingdon, acted on Mackenzie King's advice to appoint Massey as the first Canadian Envoy Extraordinary and Minister Plenipotentiary to the United States for His Majesty's Government in Canada,^[11] making Massey Canada's first ever envoy with full diplomatic credentials to a foreign capital.^{[n 3]} Despite this first in international relations, Massey's time in Washington, D.C., was free of notable events, and he returned to Canada in mid-1930, as Mackenzie King had put his name forward for appointment as high commissioner to the United Kingdom. But, merely five days after Massey relinquished his posting to Washington, Mackenzie King's Liberal Party was defeated in the federal election, seeing Richard Bennett appointed as prime minister. The new premier objected to Massey as the government's representative to the UK, on the grounds that, as a former Liberal minister, Massey did not enjoy the political confidence of the new Conservative government that was needed by the individual occupying the position.

Starting in 1932, Massey took on the job of president of the National Liberal Federation of Canada until,^[8] three years later, the Liberals were again returned to a majority in the commons, and Mackenzie King was once more installed as prime minister. Within a month, on November 8, 1935, Massey was appointed as the High Commissioner to the United Kingdom for His Majesty's Government in Canada,^[11] and arrived at Canada House to find as his secretary the man who would be his future successor as governor general of Canada, Georges Vanier. The two men set about regular diplomatic business, but, throughout 1936, Massey had to contend with the death of King George V and the accession and then — before the proposed Canadian postage stamps even arrived for Massey to pass on for the King's approval^[14] — abdication of Edward VIII in favour of his younger brother, Prince Albert, Duke of York.

Throughout his time as high commissioner, Massey used his connections to bring to Canada House a litany of personalities from "the highest quarters."^[9] Two such persons were the Viscount and Viscountess Astor, who were both the nucleus of the Cliveden set, which itself was a group of aristocratic individuals rumoured to be Germanophiles not only in favour of the appeasement of Adolf Hitler, but also supporters of friendly relations with Nazi Germany.^[15] Though these allegations were historically challenged as exaggerations,^[16] Irving Abella and Harold Troper claimed in their book None Is Too Many: Canada and the Jews of Europe 1933-1948 that Massey was an enthusiastic supporter of the Munich Agreement and worked in concert with various elected and non-elected people in government, including William Lyon Mackenzie King and Ernest Lapointe, to put obstacles in the way of Jewish refugees fleeing Europe for Canada, or even using Canada as a stopover en route to some other country. However, Canadian immigration policy at the time favoured trained farmers, which excluded most Jews, who were largely city dwellers,^[17] and the Cabinet of Mackenzie King was already resistant to changes in the law.^{[n 4]} Seven decades later, these accusations against Massey resulted in a campaign in Windsor, Ontario, to rename a high school that had originally been named in his honour.

Nevertheless, Massey was a Canadian and British patriot, and worked not only to maximize Canada's war effort once World War II broke out, but also concurrently served through 1936 as the Canadian delegate to the League of Nations, between 1941 and 1945 as a trustee of the National and Tate Galleries, and additionally as chair of the Tate's board of governors from 1943 to 1945. Though, Massey was honoured for all this work by being inducted in 1946 by King George VI into the Order of the Companions of Honour, upon his return to Canada Massey continued in the same fields. He sat as chair of the National Gallery of Canada from 1948 to 1952, and was selected as Chancellor of the University of Toronto between 1948 and 1953.^[8] In 1949, Massey's artistic expertise was of benefit when he was appointed as the head of the Royal Commission on National Development in the Arts, Letters and Sciences, which ultimately, resulted in the Massey Report of 1951, and from there to the establishment of the National Library of Canada and the Canada Council of the Arts. All this Massey continued despite the death of his wife in July 1950.^[19]

Governor General of Canada[link]

Massey's tenure as the Governor General of Canada was notable in that he was the first Canadian-born individual to be appointed to the post; previously, all the viceroys since confederation had been born in another overseas region of the British Empire and later British Commonwealth. As a widower, he was also the first and only unmarried person ever to reside at Rideau Hall. Typically, the governor general's wife would be the viceregal consort, and act as the hostess and chatelaine of the household. In Massey's case, however, his daughter-in-law, Lilias Massey, fulfilled the role, though she was not accorded the style of Her Excellency usually given to the viceregal consort.

As governor general-designate[link]

It was on February 1, 1952 announced from the Office of the Prime Minister of Canada that George VI had, by commission under the royal sign-manual and Great Seal of Canada, approved Prime Minister Louis St. Laurent's choice of Massey to succeed the Viscount Alexander of Tunis as the king's representative. Within five days, however, the king was dead, and Massey, upon his swearing-in, would thus be the first Canadian representative of George's daughter, Queen Elizabeth II. To respect the king's death, there was little fanfare around Massey's appointment; Lord Alexander quietly departed Canada shortly after the announcement of Massey as his successor, leaving Chief Justice Thibaudeau Rinfret as administrator of the government in his place.

There was, though, some commentary about the soon-to-be representative of the new queen. The notion of a Canadian-born governor general, and one also not elevated to the peerage, was viewed as somewhat controversial by traditionalists. Massey, thus, was to be a compromise: while it was known he was closely associated with the Liberal Party, having been the group's chairman during the 1930s, the Governor General-Designate was a commoner Canadian by birth but he also embodied loyalty, dignity, and formality, as expected from a viceroy. Massey stated that for his role as governor general, he for inspiration looked to one of his predecessors, and a man Massey had known for decades, the Baron Tweedsmuir, whom Massey said he "greatly admired" and had "learnt much from" his tenure as governor general.^[20]

Life ran a profile piece on Massey, in which the Marquess of Salisbury described Massey as an elegant individual — citing Massey's Oxford schooling and tailored clothing as illustrations — and thoroughly Canadian, though noting that "Vincent's a fine chap, but he does make one feel like a bit of a savage."^[8] But the elite demeanour he was sometimes criticised for was not evident in Massey's belief that the Crown belonged to Canadians,^[21] and that it was his task as viceroy to act as a link between the people and the monarch.^[19] He similarly believed that the arts were a way to assert Canadian sovereignty, and that the various artistic fields should be accessible to all Canadians.^[22]

In office[link]

On February 26, 1952, Massey was sworn in as governor general of Canada in a ceremony in the Senate chamber, where he was presented with the Canadian Forces Decoration (subsequently given to all governors general upon taking office).^[23] However, Massey's first months as the viceroy were muted, due to the ongoing 16 week period of official mourning.^[24] It was not until the coronation of Elizabeth II on June 2, 1953 that Massey was called upon to take charge of any national celebration. For the occasion, he revived the use of the state carriage when he rode in it, with an accompanying guard of Royal Canadian Mounted Police, from the royal and viceroyal residence of Rideau Hall to Parliament Hill, where he introduced to the gathered crowd the Queen's coronation speech, broadcast around the world via radio. He also gave a silver spoon to each child born on that day.^[19]

Massey welcomed the Queen and her consort, Prince Philip, Duke of Edinburgh, to Ottawa on three occasions from 1957 on, and when the royal couple were engaged in a cross-country tour, Massey invited them to stay at his private estate, Batterwood, near Port Hope, Ontario.^[25] He also hosted a number of foreign heads of state, including United States president Dwight D. Eisenhower on November 13, 1953.^[26] As a return gesture, Massey was invited by Eisenhower to Washington, D.C., where, on May 4, 1954, he addressed a joint session of the United States Congress.^[27]

Massey (left) shares a laugh with an Inuit inhabitant of Frobisher Bay

It was Massey's intent as governor general to work to unite Canada's diverse cultures. He travelled across the country, using any and all available transportation, including canoe and dog sled, and delivered speeches promoting bilingualism, some 20 years before it became an official national policy. Along with the usual ceremonial duties undertaken by a viceroy, such as opening in 1955 the new home of the Royal Saskatchewan Museum,^[28] the Governor General toured the Canadian arctic extensively, journeying to such places as Frobisher Bay and Hall Beach in the Northwest Territories, meeting with local Inuit residents, participating in their activities, and watching their performances. During his governor generalship, Massey also became actively involved with Upper Canada College, donating funds and his time to the school and seeing a number of spaces there named in his honour in return.^[29] As part of his effort to unify Canadians, it was Massey's desire to see established an entirely Canadian honours system. Though such a thing was never realised during his viceregal tenure, he helped lay the groundwork for the system that would be implemented by his successor, and in 1967, just months before his death, Massey was inducted as one of the first companions of the Order of Canada.^[19]

Legacy[link]

It was said by Claude Bissell in his biography of Massey, The Imperial Canadian, that Massey's most influential years were between 1949 and 1959, when Massey "made his major contribution. More than any other Canadian, he was responsible for the first major movement of the arts and letters from the periphery of national concern towards the centre. It was a notable achievement."^[30] In this vein, he created awards for artistic endeavours, such as the Governor General's Medals in Architecture, and promoted the concept of an annual, national arts festival, which eventually led to the founding of the National Arts Centre. Further, Massey initiated in 1954 the Governor General's Gold Medal for the Institute of Chartered Accountants, as well as in 1959 the Massey Medal, for excellence in geographic endeavours for the Royal Canadian Geographical Society.^[19]

Post-viceregal life[link]

Upon his final departure from Rideau Hall as governor general, Massey retired to Batterwood. For his service to the Crown, he was awarded from the Queen the Royal Victorian Chain, making him the first Canadian recipient of that honour, and today only one of two to ever receive it. Yet, Massey continued his philanthropic work, dedicating his time to the stewardship of the Massey Foundation, and its endowment to the University of Toronto, in particular.^[31] While Hart House continued as one of the recipients of Massey's attention and funds, Massey also expanded the scope of his donations to U of T with the establishment in 1963 of Massey College, to which Massey's protegé Robertson Davies was appointed as the college's first master. In 1961, the Massey Lectures were also initiated, conceived as a focus on important contemporary issues by leading thinkers,^[32] and they remain considered as the most important public lecture series in Canada.^[19]

At the end of 1967, on December 30, Massey died while on holiday in the United Kingdom. His remains were returned to Canada, and he was, as is customary for former governors general, given a state funeral, in early January 1968.^[8] He was buried alongside his wife at St. Mark's Anglican church in Port Hope; his was the last burial to take place there.^[25]

Titles, styles, honours, and arms[link]

Titles[link]

Viceregal styles of Vincent Massey (1952-1959)
Reference style	His Excellency the Right Honourable Son Excellence le très honorable
Spoken style	Your Excellency Votre Excellence
Alternative style	Sir Monsieur

• February 20, 1887 – September 16, 1925: Mister Vincent Massey
• September 16, 1925 – November 25, 1926: The Honourable Vincent Massey
• November 25, 1926 – July 23, 1930: The Honourable Vincent Massey, Envoy Extraordinary and Minister Plenipotentiary to the United States of America
• July 23, 1930 – November 8, 1935: The Honourable Vincent Massey
• November 8, 1935 – September 1, 1946: His Excellency the Honourable Vincent Massey, High Commissioner to the United Kingdom for His Majesty's Government in Canada
• September 1, 1946 – February 28, 1952: The Honourable Vincent Massey
• February 28, 1952 – September 15, 1959: His Excellency the Right Honourable Vincent Massey, Governor General and Commander-in-Chief in and over Canada
• September 15, 1959 – December 30, 1967: The Right Honourable Vincent Massey

Honours[link]

Ribbon bars of Vincent Massey

Appointments

• 1946 – December 30, 1967: Companion of the Order of the Companions of Honour (CH)
• September 16, 1925 – December 30, 1967: Member of the King's Privy Council for Canada (PC)
• February 28, 1952 – 1955: Knight of Justice, Prior, and Chief Officer in Canada of the Most Venerable Order of the Hospital of Saint John of Jerusalem (KStJ)^[33]
  • 1952 – September 15, 1959: Bailiff Grand Cross, Prior, and Chief Officer in Canada of the Most Venerable Order of the Hospital of Saint John of Jerusalem (GCStJ)
  • September 15, 1959 – December 30, 1967: Bailiff Grand Cross of the Venerable Order of Saint John (GCStJ)
• February 28, 1952 – September 15, 1959: Chief Scout of Canada
• 1952 – December 30, 1967: Honorary Member of the Royal Military College of Canada Club
• July 9, 1967 – December 30, 1967: Companion of the Order of Canada (CC)
• Honorary Fellow of the Royal Society of Canada (FRSC(hon))

Medals

• 1935: King George V Silver Jubilee Medal
• 1937: King George VI Coronation Medal
• February 28, 1952: Canadian Forces Decoration (CD)
• 1953: Queen Elizabeth II Coronation Medal
• 1967: Canadian Centennial Medal

Awards

• July 22, 1960: Royal Victorian Chain^[8]
• December 11, 1963: Augmentation of honour

Honorary military appointments[link]

• February 28, 1952 – September 15, 1959: Colonel of the Regiment of the Governor General's Horse Guards
• February 28, 1952 – September 15, 1959: Colonel of the Regiment of the Governor General's Foot Guards
• February 28, 1952 – September 15, 1959: Colonel of the Regiment of the Canadian Grenadier Guards

Honorary degrees[link]

• 1951: Queen's University, Doctor of Laws (LLD)^[34]
• May 13, 1955: University of Saskatchewan, Doctor of Laws (LLD)^[35]
• May 18, 1954: University of British Columbia, Doctor of Laws (LLD)^[36]

This list is incomplete; you can help by expanding it.

Honorific eponyms[link]

Vincent Massey Park in Ottawa

Vincent Massey library at Royal Military College of Canada in Kingston, Ontario

Vincent Massey Public School in Toronto

Events

• : Massey Lectures

Geographic locations

•  Alberta: Mount Massey^[37]
•  Ontario: Vincent Massey Park, Ottawa
•  Saskatchewan: Massey Place, Saskatoon
•  Saskatchewan: Massey Park, Saskatoon

Buildings

•  British Columbia: Vincent Massey Theatre (later Massey Theatre), New Westminster^[38]
•  Ontario: Massey Building, Royal Military College of Canada, Kingston
  • Massey Library, within the Massey Building
•  Ontario: Massey Quadrangle, Upper Canada College, Toronto
•  Ontario: Vincent Massey Memorial Centre, Bewdley
•  Quebec: Place Vincent Massey, Gatineau
•  Quebec: Massey Building, Collège militaire royal de Saint-Jean, Saint-Jean-sur-Richelieu

Schools

•  Alberta: Vincent Massey Junior High School, Calgary^[39]
•  Alberta: Vincent Massey School, Medicine Hat^[40]
•  Manitoba: Vincent Massey High School, Brandon^[41]
•  Manitoba: Vincent Massey Collegiate, Winnipeg^[42]
•  New Brunswick: Vincent Massey Elementary School, St. Andrews^[43]
•  Ontario: Vincent Massey Public School, Bowmanville^[44]
•  Ontario: Vincent Massey Public School, Cornwall (closed)
•  Ontario: Vincent Massey Collegiate Institute, Etobicoke (closed)
•  Ontario: Vincent Massey Public School, Etobicoke
•  Ontario: Vincent Massey Public School, Etobicoke (closed)
•  Ontario: Vincent Massey School, Hamilton
•  Ontario: Vincent Massey Public School, North Bay
•  Ontario: Vincent Massey Public School, Oshawa
•  Ontario: Vincent Massey Public School, Ottawa
•  Ontario: Vincent Massey School, Ottawa^[45]
•  Ontario: Massey College, University of Toronto, Toronto
•  Ontario: Vincent Massey Secondary School, Windsor
•  Quebec: Vincent Massey Collegiate, Montreal^[46]
•  Quebec: Vincent Massey Elementary School, Saint-Hubert^[47]
•  Saskatchewan: Vincent Massey Community School, Prince Albert^[48]
•  Saskatchewan: Ecole Massey School, Regina^[49]
•  Saskatchewan: Vincent Massey School, Saskatoon^[50]
•  Saskatchewan: Vincent Massey Public School, Saskatoon

Arms[link]

List of works[link]

• Massey, Vincent (1928). The making of a nation. Boston; New York: Houghton Mifflin company. pp. 44. 
• Massey, Vincent (1930). Good neighbourhood: and other addresses in the United States. Toronto: The Macmillan of Canada. pp. 362. 
• Massey, Vincent (1935). Canada in the world. Toronto: J.M. Dent & Sons. pp. 229. 
• Massey, Vincent (1942). The sword of Lionheart & other wartime speeches. Toronto: The Ryerson Press. pp. 117. 
• Massey, Vincent (1948). On being Canadian. Toronto: J.M. Dent. pp. 198. 
• Massey, Vincent (1952). Things that remain. Toronto. pp. 16. 
• Massey, Vincent (1954). On books & reading. Toronto: Ryerson. pp. 12. 
• Massey, Vincent (1955). The Canadian Club of Montreal 1905-1955. Montreal: Canadian Club of Montreal. pp. 16. 
• Massey, Vincent (1957). Uncertain sounds. Sackville, N.B.: Mount Allison University. pp. 38. 
• Massey, Vincent (1959). Speaking of Canada: addresses. London: Macmillan. pp. 244. 
• Massey, Vincent (1961). Canadians and their Commonwealth. Oxford: Clarendon Press. pp. 20. 
• Massey, Vincent (1963). What's past is prologue: the memoirs of the Right Honourable Vincent Massey, C.H.. Toronto: Macmillan. pp. 540. 
• Massey, Vincent (1965). Confederation on the march: views on major Canadian issues during the sixties. Toronto: Macmillan. pp. 101. 

See also[link]

• Diplomatic corps
• Massey Foundation

Notes[link]

References[link]

External links[link]

Wikiquote has a collection of quotations related to: Vincent Massey

Wikimedia Commons has media related to: Vincent Massey

• Parliament of Canada biography
• Arms of Vincent Massey
• Archives of Ontario: Birth certificate for Vincent Massey
• Archives of Ontario: Marriage certificate for Vincent Massey and Alice Parker

v t e    Governors General of Canada Monck Lisgar Dufferin Lorne Lansdowne Stanley Aberdeen Minto Grey Connaught Devonshire Byng Willingdon Bessborough Tweedsmuir Athlone Alexander Massey Vanier Michener Léger Schreyer Sauvé Hnatyshyn LeBlanc Clarkson Jean Johnston

v t e   Canadian Ambassadors to the United States Envoy Extraordinary and Minister Plenipotentiary (1926-1943) Massey · Wrong (Chargé d'Affaires a.i.) · Herridge · Wrong (Chargé d'Affaires a.i.) · Marler · Christie · McCarthy Ambassador Extraordinary and Plenipotentiary (1943-) McCarthy · Pearson · Wrong · Heeney · Robertson · C. Ritchie · E. Ritchie · Cadieux · Warren · Towe · Gotlieb · Burney · de Chastelain · Chrétien · Kergin · McKenna · Wilson · Doer

v t e   Canadian High Commissioner to the United Kingdom Galt · Tupper · Smith · Perley · Larkin · Pacaud (acting) · Ferguson · Massey · Robertson · Wilgress · Robertson · Drew · Chevrier · Ritchie · Warren · Martin · Wadds · Jamieson · McMurtry · Macdonald · Eaton · Frith · MacLaren · Kinsman · Cappe · Wright · Campbell