1.
Alexis Grimou
–
Alexis Grimou was a French painter. Alexis Grimou was never an apprentice in a studio and his father had been a Swiss guard at Versailles. He trained himself by copying works of Van Dyck and Rembrandt and he painted mainly spirited portraits or portrait scenes, such as women singing and playing musical instruments. He was admitted to the Academy of Paris in 1705, and he then joined the Academy of St. Luke in Rome, where he was admitted in 1709. Dizionario delle Belle Arti del Disegno y Estratto in Gran Parte dalla Enciclopedia Metodica da Francesco Milizia, Seconda Edizione, media related to Alexis Grimou at Wikimedia Commons
Alexis Grimou
–
Alexis Grimou self-portrait in classical dress.
2.
History painter
–
History painting is a genre in painting defined by its subject matter rather than artistic style. History paintings usually depict a moment in a story, rather than a specific and static subject. The term is derived from the senses of the word historia in Latin and Italian, meaning story or narrative. Most history paintings are not of scenes from history, especially paintings from before about 1850, History paintings almost always contain a number of figures, often a large number, and normally show some type of action that is a moment in a narrative. The genre includes depictions of moments in religious narratives, above all the Life of Christ, as well as scenes from mythology. These groups were for long the most frequently painted, works such as Michelangelos Sistine Chapel ceiling are therefore history paintings, History painting may be used interchangeably with historical painting, and was especially so used before the 20th century. Where a distinction is made historical painting is the painting of scenes from secular history, in the 19th century historical painting in this sense became a distinct genre. In phrases such as historical painting materials, historical means in use before about 1900 and he placed emphasis on the ability to depict the interactions between the figures by gesture and expression. This view remained general until the 19th century, when artistic movements began to struggle against the establishment institutions of academic art, which continued to adhere to it. Scenes from ancient history had been popular in the early Renaissance, and once again became common in the Baroque and Rococo periods, and still more so with the rise of Neoclassicism. In some 19th or 20th century contexts, the term may refer specifically to paintings of scenes from history, rather than those from religious narratives. Scenes from ancient history and mythology were also popular, artists continued for centuries to strive to make their reputation by producing such works, often neglecting genres to which their talents were better suited. The large works of Raphael were long considered, with those of Michelangelo, un Peintre qui ne fait que des portraits, na pas encore cette haute perfection de lArt, & ne peut prétendre à lhonneur que reçoivent les plus sçavans. He who produces perfect landscapes is above another who only produces fruit, a painter who only does portraits still does not have the highest perfection of his art, and cannot expect the honour due to the most skilled. By the late 18th century, with religious and mytholological painting in decline, there was an increased demand for paintings of scenes from history. Classical history remained popular, but scenes from national histories were often the best-received, the unheroic nature of modern dress was regarded as a serious difficulty. When, in 1770, Benjamin West proposed to paint The Death of General Wolfe in contemporary dress and he ignored these comments and showed the scene in modern dress. Although George III refused to purchase the work, West succeeded both in overcoming his critics objections and inaugurating a more historically accurate style in such paintings. M. W, conveniently their clothes had been worn away to classical-seeming rags by the point the painting depicts
History painter
–
Diana and Actaeon, Titian, 1556–1559, a classic history painting, showing a dramatic moment in (mythological story, with elements of figure painting, landscape painting and still-life.
History painter
–
Judas Returning the Thirty Silver Pieces by Rembrandt, 1629
History painter
–
Jacques-Louis David 's Oath of the Horatii, 1786, with a scene from ancient history.
History painter
–
The Meeting of Leo the Great and Attila by Raphael and his workshop
3.
Palais-Royal
–
The Palais-Royal, originally called the Palais-Cardinal, is a palace located in the 1st arrondissement of Paris. The screened entrance court faces the Place du Palais-Royal, opposite the Louvre, the larger inner courtyard, the Cour dHonneur, has since 1986 contained Daniel Burens site-specific art piece Les Deux Plateaux, known as Les Colonnes de Buren. In 1830 the Cour dHonneur was enclosed to the north by what was probably the most famous of Pariss covered arcades, demolished in the 1930s, its flanking rows of columns still stand between the Cour dHonneur and the popular Palais-Royal Gardens. Originally called the Palais-Cardinal, the palace was the residence of Cardinal Richelieu. The architect Jacques Lemercier began his design in 1629, construction commenced in 1633 and was completed in 1639, upon Richelieus death in 1642 the palace became the property of the King and acquired the new name Palais-Royal. After Louis XIII died the year, it became the home of the Queen Mother Anne of Austria and her young sons Louis XIV and Philippe, duc dAnjou. From 1649, the palace was the residence of the exiled Henrietta Maria and Henrietta Anne Stuart, wife, the two had escaped England in the midst of the English Civil War and were sheltered by Henrietta Marias nephew, King Louis XIV. Henrietta Anne was later married to Louis younger brother, Philippe de France, the following year the new duchesse dOrléans gave birth to a daughter, Marie Louise dOrléans, inside the palace. After their marriage, the became the main residence of the House of Orléans. The Duchess created the gardens of the palace, which were said to be among the most beautiful in Paris. Under the new couple, the Palais-Royal would become the social center of the capital. The court gatherings at the Palais-Royal were famed all around the capital as well as all of France and it was at these parties that the crème de la crème of French society came to see and be seen. Guests included the members of the royal family like the Queen Mother, Anne of Austria, the duchesse de Montpensier, the Princes de Condé. Philippes favourites were also frequent visitors, the palace was redecorated and new apartments were created for the maids and staff of the Duchess. After Henrietta Anne died in 1670 the Duke took a wife, the Princess Palatine. Saint-Cloud thus became the residence of her eldest son and the heir to the House of Orléans. For the convenience of the bride, new apartments were built and it was at this time that Philippe commissioned the gallery for his famous Orleans Collection of paintings, which was easily accessible to the public. The architect was Jules Hardouin-Mansart, and the cost of reconstruction was totaled to be 400,000 livres
Palais-Royal
–
Entrance front of the Palais-Royal on the rue Saint-Honoré
Palais-Royal
–
Garden-side view with the columns of the former Galerie d'Orléans
Palais-Royal
–
The Palais-Cardinal (c. 1641)
Palais-Royal
–
Philippe de France, duc d'Orléans the younger brother of Louis XIV.
4.
Charles-Antoine Coypel
–
Charles-Antoine Coypel was a French painter, art commentator, and playwright. He was the son of the artist Antoine Coypel and grandson of Noël Coypel, charles-Antoine inherited his father’s design and painting duties as premier peintre du roi at the French court when his father died in 1722. He became premier peintre du roi and director of the Académie Royale in 1747 and he received a number of commissions for paintings for the Palais de Versailles, and worked for Madame de Pompadour, the king’s mistress. Coypel was an excellent tapestry designer and he designed tapestries for the Gobelins manufactory. His most successful tapestries were created from a series illustrating Don Quixote, Coypel was the first to illustrate Don Quixote in a sophisticated manner. These illustrations were painted as cartoons for tapestries, and were engraved and published in a folio in Paris in 1724. Coypel created twenty-eight small paintings for these tapestries over a number of years, each of the paintings was used as the centrepiece of a larger area that was richly decorated with birds, small animals, and garlands of flowers on a pattered background. Over two hundred pieces of the Don Quixote series were woven between 1714 and 1794 and he received a commission to design a series of theatrical scenes for tapestries for the queen of Poland in 1747. Coypel also wrote prose, several comedies, two tragedies, and some poetry, alongside his painting career, Coypel wrote some forty plays between 1717 and 1747. Only Les Folies de Cardenio was published and it was played at Palais des Tuileries in 1721. In La Poésie et la Peinture, allegorical comedy in three acts, the artist compared the qualities of both arts, the painter also realized works on the theme of the theater, including the portrait of Adrienne Lecouvreur in Cornelia. Charles-Antoine Coypel on Data. bnf. fr Charles Antoine Coypel in Artcyclopedia
Charles-Antoine Coypel
–
Charles-Antoine Coypel, self-portrait, 1734.
Charles-Antoine Coypel
–
Charles-Antoine Coypel, Molière
5.
Adrienne Lecouvreur
–
Adrienne Lecouvreur was a French actress, considered by many as the greatest of her time. Born in Damery, she first appeared professionally on the stage in Lille, after her Paris debut at the Comédie-Française in 1717, she was immensely popular with the public. Together with Michel Baron, she was credited for having developed a natural, less stylized. Despite the fame she gained as an actress and her innovations in her style, she was widely remembered for her romance with Maurice de Saxe. Although there are different theories that suggest she was poisoned by her rival, Maria Karolina Sobieska, Duchess of Bouillon and her story was used as an inspiration for playwrights, composers and poets. The refusal of the Catholic Church to give her a Christian burial moved her friend Voltaire to write a poem on the subject, Adrienne Lecouvreur was born on April 5,1692 in the village of Damery in the provence of Champagne. Her father, Robert Couvreur, was a hat maker who, in the hope of more lucrative opportunities, after the death of his wife, Marie Couvreur, Mr. Couvreur started frequenting taverns, leaving young Adrienne and her sister Marie Marguerite to fend for themselves. The company premiered at the house of Madame de Gue, wife of a president of Parlement and they played Corneilles Polyeucte, with Adrienne Lecouvreur playing the role of Pauline. At age 14, Adrienne was already on tour and her first public performances as a professional actress took place in Lille, where Mademoiselle Fonpré, who had been appointed director of the theatre, was taken aback by Lecouvreurs potential. Shortly after her début, she started getting roles of tragic queens and her next engagements after Lille, were in Luneville, the capital of the Duchy of Lorraine. During this period, she had a daughter, Elisabeth-Adrienne, whose father was Philippe Le Roy and she was also engaged to a man referred in her writings as Baron D. but he died in an accident before they could marry. Shortly after Baron Ds death, Adrienne Lecouvreur left Luneville, signing a contract with another theatre under the protection of the Duke of Lorraine and it was a time of great success for her. In Strasbourg, she met the young Count François de Klinglin, after months of visiting her, they announced their engagement, but one year into their commitment, Adrienne was expecting a second child. The shame of this impending wedding made the magistrate threaten his son with disinheritance, to which he gave in, calling off the engagement and agreeing to a new one, in Strasbourg, Lecouvreur earned a considerable income. However, while she was relying on Baron D. and subsequently Klinglins income beside her own and her engagements as an actress required her to pay for her own wardrobe and jewelry, and an actress of Adriennes status were subject to high expectations in their adornment. Humiliated after Klinglins arranged marriage, and with two children to support, Adrienne could no longer sustain herself in Strasbourg. In 1716, at age 24, she left for Paris, done in Paris this 27th day of March,1717. Adrienne Lecouvreur chose Prosper Jolyot de Crébillons Electre and Molières George Dandin in the role of Angélique and she made a surprising first appearance on stage
Adrienne Lecouvreur
–
Adrienne Lecouvreur
Adrienne Lecouvreur
–
Lecouvreur as Cornelia in Pierre Corneille ’s The Death of Pompey
Adrienne Lecouvreur
–
Aleardo Villa - Adriana Lecouvreur
6.
Museum of Fine Arts of Rennes
–
The Museum of Fine Arts of Rennes is a municipal museum of fine arts in the French city of Rennes, the capital of Brittany. Its collections range from ancient Egypt antiquities to the Modern art period and make the one of the most important in France outside Paris. The museum was established in 1794 during the French Revolution like most of the main French museums and its first collections were the confiscated artworks of the churches and public buildings of Rennes. It comprised drawings, prints, paintings, antiques and sculptures, the museums collections continued to expand during the 19th and the 20th centuries thanks to donations and acquisitions. The building housing the museum was built between in 1847 and 1855 but it is only since 1911 that it is devoted to the museums collections. The building and the rooms have been restored and modified several times. The collection include paintings created between the 14th and 20th centuries, primitive and Renaissance painting is represented with works by Paris Bordone, Paolo Veronese, Leandro Bassano, Maarten van Heemskerck and of the School of Fontainebleau. The 17th century is one of the highlights of the museum, italian painting is featured with Ludovico Carracci, Guercino, Pietro da Cortona, Guido Reni and also Luca Giordano. Dutch and Flemish painting is represented by Rubens, Jacob Jordaens, Gaspar De Crayer, Peter Lely, Adriaen Brouwer, Adriaen van Ostade, Matthias Stom, Gerrit van Honthorst, 19th-century holdings are important with some 300 paintings in the collection. At that time Brittany was a destination for academist and modern painters. The drawings holdings are one of the treasures of the museum as they include very valuable pieces and rare names, official Museum of Fine Arts of Rennes website—
Museum of Fine Arts of Rennes
–
The Musée des beaux-arts de Rennes
Museum of Fine Arts of Rennes
–
The newborn child, Georges de La Tour, oil on canvas, 1645-1648.
Museum of Fine Arts of Rennes
–
The Immaculate Conception, Bernardino Campi, 1560s.
Museum of Fine Arts of Rennes
–
Young man's back, Parmigianino, 1520s.
7.
Louis XIV
–
Louis XIV, known as Louis the Great or the Sun King, was a monarch of the House of Bourbon who ruled as King of France and Navarre from 1643 until his death in 1715. His reign of 72 years and 110 days is the longest of any monarch of a country in European history. In the age of absolutism in Europe, Louis XIVs France was a leader in the centralization of power. Louis began his rule of France in 1661, after the death of his chief minister. By these means he became one of the most powerful French monarchs, under his rule, the Edict of Nantes, which granted rights to Huguenots, was abolished. The revocation effectively forced Huguenots to emigrate or convert in a wave of dragonnades, which managed to virtually destroy the French Protestant minority. During Louis reign, France was the leading European power, and it fought three wars, the Franco-Dutch War, the War of the League of Augsburg. There were also two lesser conflicts, the War of Devolution and the War of the Reunions, warfare defined Louis XIVs foreign policies, and his personality shaped his approach. Impelled by a mix of commerce, revenge, and pique, in peacetime he concentrated on preparing for the next war. He taught his diplomats their job was to create tactical and strategic advantages for the French military, Louis XIV was born on 5 September 1638 in the Château de Saint-Germain-en-Laye, to Louis XIII and Anne of Austria. He was named Louis Dieudonné and bore the title of French heirs apparent. At the time of his birth, his parents had married for 23 years. His mother had experienced four stillbirths between 1619 and 1631, leading contemporaries thus regarded him as a divine gift and his birth a miracle of God. Sensing imminent death, Louis XIII decided to put his affairs in order in the spring of 1643, in defiance of custom, which would have made Queen Anne the sole Regent of France, the king decreed that a regency council would rule on his sons behalf. His lack of faith in Queen Annes political abilities was his primary rationale and he did, however, make the concession of appointing her head of the council. Louis relationship with his mother was uncommonly affectionate for the time, contemporaries and eyewitnesses claimed that the Queen would spend all her time with Louis. Both were greatly interested in food and theatre, and it is likely that Louis developed these interests through his close relationship with his mother. This long-lasting and loving relationship can be evidenced by excerpts in Louis journal entries, such as, but attachments formed later by shared qualities of the spirit are far more difficult to break than those formed merely by blood
Louis XIV
–
Louis XIV by Hyacinthe Rigaud (1701)
Louis XIV
–
Louis-Dieudonné, Dauphin of France, in 1643 by Claude Deruet
Louis XIV
–
Louis XIV as a child, unknown painter
Louis XIV
–
1655 portrait of Louis, the Victor of the Fronde, portrayed as the god Jupiter
8.
Esther
–
Esther, born Hadassah, is the eponymous heroine of the Book of Esther. According to the Hebrew Bible, Esther was a Jewish queen of the Persian king Ahasuerus, Ahasuerus is traditionally identified with Xerxes I during the time of the Achaemenid Empire, although Flavius Josephus wrote that Esthers king husband was Xerxes son Artaxerxes. Her story is the basis for the celebration of Purim in Jewish tradition, King Ahasuerus displayed his wealth for 180 days then held a 7 day feast in Susa. While in high spirits from the wine, he ordered his queen, Vashti, to appear before him, but when the attendants delivered the kings command to Queen Vashti, she refused to come. Furious at her refusal to obey, the king asked his men what should be done. One of them said that all the women in the empire would hear that The King Ahasuerus commanded Vashti the queen to be brought in before him, then these women would despise their husbands, which would cause many problems in the kingdom. Therefore, it would be prudent to depose Vashti, many beautiful maidens were then brought before the king in order that he might choose a successor to the unruly Vashti. The King chose Esther, a daughter of a Benjamite named Abihail. Esther was originally named Hadassah, meaning myrtle and she had spent her life among the Jewish exiles in Persia, where she lived under the protection of her cousin Mordecai. When Cyrus gave permission for the exiles to return to Jerusalem, Mordecai was the son of Jair, a Benjamite, who had been carried into captivity together with Jeconiah by Nebuchadnezzar, King of Babylon. Mordecai became chief minister of Ahasuerus and lived in the Persian capital of Susa, one day, while sitting at the gate of the kings palace, Mordecai overheard a plot of two eunuchs, Bigthan and Teresh, to kill the king. Having informed the king through Esther of the conspiracy, Mordecai brought about the execution of the two conspirators, and the event was recorded in the royal chronicles, the grand vizier, Haman the Agagite, commanded Mordecai to do obeisance to him. The king then issued a proclamation ordering the confiscation of Jewish property, Mordecai tore his robes and put ash on his head on hearing this news. Sheltered in the harem, Esther was unaware of the decree until Mordecai advised her of it through Hathach and he informed her that she should not think that she would escape simply because she was in the palace. At the request of Esther, Mordecai instituted at Susa a general fast for three days. Esther could not approach the king without being summoned, on pain of death, nevertheless, at the end of the three days, Esther dressed in her royal apparel and went before the king, who was pleased to see her. When the king asked her what her request was, she invited the king, at the banquet they accepted her invitation to dine with her again on the following day. Haman, carried away by the joy that this gave him
Esther
–
Queen Esther (1878) by Edwin Long
Esther
–
Esther talking to Mordecai
Esther
–
Ahasuerus and Haman at the Feast of Esther, by Rembrandt
Esther
–
The Shrine alleged to be the tomb of Esther and Mordecai in Hamedan, Iran
9.
International Standard Book Number
–
The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
International Standard Book Number
–
A 13-digit ISBN, 978-3-16-148410-0, as represented by an EAN-13 bar code
10.
Public domain
–
The term public domain has two senses of meaning. Anything published is out in the domain in the sense that it is available to the public. Once published, news and information in books is in the public domain, in the sense of intellectual property, works in the public domain are those whose exclusive intellectual property rights have expired, have been forfeited, or are inapplicable. Examples for works not covered by copyright which are therefore in the domain, are the formulae of Newtonian physics, cooking recipes. Examples for works actively dedicated into public domain by their authors are reference implementations of algorithms, NIHs ImageJ. The term is not normally applied to situations where the creator of a work retains residual rights, as rights are country-based and vary, a work may be subject to rights in one country and be in the public domain in another. Some rights depend on registrations on a basis, and the absence of registration in a particular country, if required. Although the term public domain did not come into use until the mid-18th century, the Romans had a large proprietary rights system where they defined many things that cannot be privately owned as res nullius, res communes, res publicae and res universitatis. The term res nullius was defined as not yet appropriated. The term res communes was defined as things that could be enjoyed by mankind, such as air, sunlight. The term res publicae referred to things that were shared by all citizens, when the first early copyright law was first established in Britain with the Statute of Anne in 1710, public domain did not appear. However, similar concepts were developed by British and French jurists in the eighteenth century, instead of public domain they used terms such as publici juris or propriété publique to describe works that were not covered by copyright law. The phrase fall in the domain can be traced to mid-nineteenth century France to describe the end of copyright term. In this historical context Paul Torremans describes copyright as a coral reef of private right jutting up from the ocean of the public domain. Because copyright law is different from country to country, Pamela Samuelson has described the public domain as being different sizes at different times in different countries. According to James Boyle this definition underlines common usage of the public domain and equates the public domain to public property. However, the usage of the public domain can be more granular. Such a definition regards work in copyright as private property subject to fair use rights, the materials that compose our cultural heritage must be free for all living to use no less than matter necessary for biological survival
Public domain
–
Newton's own copy of his Principia, with hand-written corrections for the second edition
Public domain
–
L.H.O.O.Q. (1919). Derivative work by the Dadaist Marcel Duchamp based on the Mona Lisa.
11.
Virtual International Authority File
–
The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
Virtual International Authority File
–
Screenshot 2012
12.
Integrated Authority File
–
The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives, the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero license, the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format
Integrated Authority File
–
GND screenshot
13.
Union List of Artist Names
–
The Union List of Artist Names is an online database using a controlled vocabulary currently containing around 293,000 names and other information about artists. Names in ULAN may include names, pseudonyms, variant spellings, names in multiple languages. Among these names, one is flagged as the preferred name, the focus of each ULAN record is an artist. Currently there are around 120,000 artists in the ULAN, in the database, each artist record is identified by a unique numeric ID. Linked to each artist record are names, related artists, sources for the data, the temporal coverage of the ULAN ranges from Antiquity to the present and the scope is global. The ULAN includes proper names and associated information about artists, artists may be either individuals or groups of individuals working together. Artists in the ULAN generally represent creators involved in the conception or production of visual arts, repositories and some donors are included as well. Work on the ULAN began in 1984, when the Getty decided to merge, in 1987 the Getty created a department dedicated to compiling and distributing terminology. The ULAN grows and changes via contributions from the user community, although originally intended only for use by Getty projects, the broader art information community outside the Getty expressed a need to use ULAN for cataloging and retrieval. Its scope was broadened to include corporate bodies such as firms and repositories of art. The ULAN was founded under the management of Eleanor Fink, the ULAN has been constructed over the years by numerous members of the user community and an army of dedicated editors, under the supervision of several managers. The ULAN was published in 1994 in hardcopy and machine-readable files, given the growing size and frequency of changes and additions to the ULAN, by 1997 it had become evident that hard-copy publication was impractical. It is now published in automated formats only, in both a searchable online Web interface and in data files available for licensing, final editorial control of the ULAN is maintained by the Getty Vocabulary Program, using well-established editorial rules. The current managers of the ULAN are Patricia Harpring, Managing Editor, entities in the Person facet typically have no children. Entities in the Corporate Body facet may branch into trees, there may be multiple broader contexts, making the ULAN structure polyhierarchical. In addition to the relationships, the ULAN also has equivalent. Contributors to the Getty Vocabularies and implementers of the licensed vocabulary data may consult these guidelines as well
Union List of Artist Names
–
Contents
14.
Netherlands Institute for Art History
–
The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation, archives, and books on Western art from the late Middle Ages until modern times, all of this is open to the public, and much of it has been digitized and is available on their website. The main goal of the bureau is to collect, categorize, via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries. The library owns approximately 450,000 titles, of which ca.150,000 are auction catalogs, there are ca.3,000 magazines, of which 600 are currently running subscriptions. Though most of the text is in Dutch, the record format includes a link to library entries and images of known works. The RKD also manages the Dutch version of the Art and Architecture Thesaurus, the original version is an initiative of the Getty Research Institute in Los Angeles, California. Their bequest formed the basis for both the art collection and the library, which is now housed in the Koninklijke Bibliotheek. Though not all of the holdings have been digitised, much of its metadata is accessible online. The website itself is available in both a Dutch and an English user interface, in the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record, usually of the form, https, for example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number, to reference an artwork page directly, use the code listed at the bottom of the record, usually of the form, https, //rkd. nl/en/explore/images/ followed by the artworks record number. For example, the record number for The Night Watch is 3063. The Art and Architecture Thesaurus also assigns a record for each term, rather, they are used in the databases and the databases can be searched for terms. For example, the painting called The Night Watch is a militia painting, the thesaurus is a set of general terms, but the RKD also contains a database for an alternate form of describing artworks, that today is mostly filled with biblical references. To see all images that depict Miriams dance, the associated iconclass code 71E1232 can be used as a search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
Netherlands Institute for Art History
–
As the logos on the window show, the RKD shares the same building located at Den Haag Centraal with the National Archives, the Nederlands Letterkundig Museum (nl) (LM), the Huygens ING, the Netherlands Music Institute (NMI) and the Koninklijke Bibliotheek.
15.
Antoine Coypel
–
Antoine Coypel was a history painter, the more famous son of the French painter Noël Coypel. Antoine Coypel was born in Paris and he studied under his father, with whom he spent four years at Rome. At the age of eighteen he was admitted into the Académie de peinture et de sculpture, of which he became professor and rector in 1707, in 1716 he was appointed kings painter, and he was ennobled in the following year. His great work of decoration was the ceiling of the Royal chapel at Versailles and he also carried out large-scale paintings illustrating themes of the Aeneid for the Palais-Royal. He was an etcher, and engraved several of his own works. His Discours prononcés dans les conferences de 1Academie royale de Peinture and his half-brother Nöel-Nicolas and his son Charles-Antoine Coypel were also accomplished painters. The sculptor François Dumont was his brother-in-law and he died in 1722, he was 61 years old. This article incorporates text from a now in the public domain, Chisholm, Hugh
Antoine Coypel
–
Portrait of the French Artist Antoine Coypel, by Alexis Grimou, Musée des Beaux-Arts de Rouen, 1705
Antoine Coypel
–
Antoine Coypel, Adrienne Lecouvreur as Cornelia [disambiguation needed]
Antoine Coypel
–
Venus bringing the arms to Aeneas, 1699, Museum of Fine Arts of Rennes
Antoine Coypel
–
Antoine Coypel, The Persian embassy to Louis XIV, 1715
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Coypel". Encyclopædia Britannica. 7 (11th ed.). Cambridge University Press. p. 355.
