Massier was named tournament MOP and was joined by Jim Brown, Ed Zemrau and Rodney Schneck on the All-Tournament first team while Blair Livingstone, Barry Sharp and John MacMillan earned All-Tournament second team honors. Senior Captain Ed Zemrau was the only Pioneer named to the AHCA All-American West Team and was named to the All-WIHL First Team while Massier made the WIHL second team. Because the WIHL would be dissolved that summer due to a dispute over recruiting practices, Denver's first WIHL title was the last that would ever be awarded. This also made the '58 Denver team the last WIHL squad to win a national championship.
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With a 3–1 Denver advantage entering the third period the Pioneers pulled back and tried to protect their lead but just over five minutes in the lead was halved by Joe Poole who found himself open in front of the net. Murray Massier quickly responded with his 21st goal of the season to regain the 2-goal edge and while there was still plenty of time left the Massier marker appeared to sap the life out of the Fighting Sioux. While Denver only managed 5 shots in the final frame UND was limited to the same amount. To make matters worse North Dakota netminder Robert Peabody allowed three goals on those five shots to end the UND season on a whimper.
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Cuneo began his studied in art while still living in San Francisco, at the Mark Hopkins Art Institute. When he travelled to Paris in 1896, he joined the Colarossi’s studio and trained under Whistler eventually becoming his massier or head student. Cuneo set up a afternoon sketching school with Edith Œnone Somerville (18581949). Teaching sketching and boxing helped Cuneo to support himself in Paris.
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Unlike most arts magazine in Canada, which rely almost exclusively on government funding, Lola received very little government support. In its seven years, Lola received one grant from the Canadian Government to support its growth in newsstand sales and subscriptions. After the second issue was published in 1998, John Massier left the magazine. Catherine Osborne became the editor and Sally McKay became art director, though both played an equal role in the development of the editorial content.
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In 1887 Lévy began making his living near Cannes in southern France, overseeing the decoration of ceramics. From 1886 to 1895 he worked as a ceramic decorator and then as artistic director of the studio of Clément Massier. Around 1892 he signed his first pieces of ceramics, which were influenced by Islamic Art. In 1895 he left for Paris to begin a career in painting; around this time he visited Italy and was further influenced by art of the Renaissance.
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When Murray Armstrong Arrived in 1956, the fairly new program at Denver had been declining for several years. This trend continued in Armstrong's first season when the Pioneers posted a losing record for the first time since their inaugural campaign. During that year, however, Armstrong brought in 9 recruits from Canada who played on the Freshman team before hitting the ice with the varsity squad in 1957–58. Among those players were Murray Massier, Jim Brown and future NHL-er John MacMillan.
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Harris traveled to Boston and studied with Dewing at the School of the Museum of Fine Arts, Boston. At age 17 he was Dewing's monitor at the Art Students League in New York City. The next year Harris studied art at Académie Julian, Paris with, among others, Paul Gauguin and at École des Beaux-Arts where he became massier under Jean-Léon Gérôme. While in Paris Harris pursued his lifelong interest in the applied arts while in Paris, studying, and perhaps working, at the Gobelin Tapestry Works.
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Lola magazine was a Toronto visual arts publication that ran for seven years between 1997 and 2003. It was launched by artist/writer Sally McKay, curator John Massier and arts writer and editor Catherine Osborne. Their aim was to reinvigorate the city's visual arts scene by creating an open forum for writers, artists and the general public to comment and critique exhibitions and art events within the city. The most popular section of the magazine was a review section called Shotguns, where everyone was invited to write a review of a recent exhibition or event.
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Hlady first gained notice for her kinetic installation "neutralized feelings of apprehension," at G76 in Toronto, which was enthusiastically reviewed by Kate Taylor of The Globe and Mail. Her solo installation "Beauty" at the Koffler Gallery in Toronto, was curated by John Massier in 1992. After exhibiting her kinetic work "Waltzing Matilda" at Peregrine Gallery, which was reviewed by Gillian MacKay of the Globe and Mail, she had group and solo exhibitions at The Power Plant in Toronto. Her work "Drumming Displaced into Different Sized Jam Jars" was purchased by the Art Gallery of Ontario in 1999.
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From 1902−1907, Jacques Sicard and Henri Gellie worked at Weller's pottery to develop a metallic glaze, which had been introduced by Clement Massier in France by 1889, as Reflets Metalliques. The Sicardo line went into production in the fall of 1903, but the process was difficult, and only about 30% of the finished pots were marketable. In this same period, between 1902 and 1905, Weller had become the world's largest pottery and mass-producer of art pottery. In 1903 and 1904, Frederick Hurten Rhead worked for a short time at Weller Pottery, developing Jap Birdimal line in 1904.
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The façade of Maxim's Restaurant Maxim's Art Nouveau "Collection 1900", also known as the Musée Art Nouveau - Maxim's, is a private collection of Art Nouveau objects and decor, located in the 8th arrondissement above Maxim's Paris restaurant at 3, Rue Royale, Paris, France. It is open for guided tours in afternoons except Monday and Tuesday; an admission fee is charged. Pierre Cardin (the owner since 1981 of Maxim's restaurant, a symbol for Art Nouveau) has collected for over 60 years objects from the Belle Epoque. There are more than 550 pieces from all over the world, signed by Louis Majorelle, Louis Comfort Tiffany, Émile Gallé, Henri de Toulouse-Lautrec and Clement Massier.
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