Luis Buñuel Portolés was a Spanish filmmaker who worked in Spain and France. When Buñuel died at age 83, his obituary in The New York Times called him "an iconoclast and revolutionary, a leader of avant-garde surrealism in his youth and a dominant international movie director half a century later", his first picture, Un Chien Andalou—made in the silent era—was called "the most famous short film made" by critic Roger Ebert, his last film, That Obscure Object of Desire—made 48 years later—won him Best Director awards from the National Board of Review and the National Society of Film Critics. Writer Octavio Paz called Buñuel's work "the marriage of the film image to the poetic image, creating a new reality...scandalous and subversive". Associated with the surrealist movement of the 1920s, Buñuel created films from the 1920s through the 1970s, his work spans two continents, three languages, an array of genres, including experimental film, melodrama, musical, comedy, costume dramas, crime film and western.
Despite this variety, filmmaker John Huston believed that, regardless of genre, a Buñuel film is so distinctive as to be recognizable, or, as Ingmar Bergman put it, "Buñuel nearly always made Buñuel films". Six of Buñuel's films are included in Sight & Sound's 2012 critics' poll of the top 250 films of all time. Fifteen of his films are included in the They Shoot Pictures, Don't They? List of the 1,000 greatest films of all time, for which he ranks second only to Jean-Luc Godard, with sixteen, he ranks number 13 on their list of the top 250 directors. Buñuel was born in Calanda, a small town in the province of Teruel, in the Aragon region of Spain, to Leonardo Buñuel, the cultivated scion of an established Aragonese family, María Portolés, many years younger than her husband, with wealth and family connections of her own, he would describe his birthplace by saying that in Calanda, "the Middle Ages lasted until World War I". The oldest of seven children, Luis had two brothers and Leonardo, four sisters: Alicia, Concepción, Margarita and María.
When Buñuel was four and a half months old, the family moved to Zaragoza, where they were one of the wealthiest families in town. In Zaragoza, Buñuel received a strict Jesuit education at the private Colegio del Salvador. After being kicked and insulted by the study hall proctor before a final exam, Buñuel refused to return to the school, he told his mother he had been expelled, not true. Buñuel finished the last two years of his high school education at the local public school; as a child, Buñuel was something of a cinematic showman. He excelled at boxing and playing the violin. In his youth, Buñuel was religious, serving at Mass and taking Communion every day, until, at the age of 16, he grew disgusted with what he perceived as the illogicality of the Church, along with its power and wealth. In 1917, he attended the University of Madrid, first studying agronomy industrial engineering and switching to philosophy, he developed a close relationship with painter Salvador Dalí and poet Federico García Lorca, among other important Spanish creative artists living in the Residencia de Estudiantes, with the three friends forming the nucleus of the Spanish Surrealist avant-garde, becoming known as members of "La Generación del 27".
Buñuel was taken with Lorca writing in his autobiography: "We liked each other instantly. Although we seemed to have little in common—I was a redneck from Aragon, he an elegant Andalusian—we spent most of our time together... We used to sit on the grass in the evenings behind the Residencia, he would read me his poems, he read and beautifully, through him I began to discover a wholly new world." Buñuel's relationship with Dalí was somewhat more troubled, being tinged with jealousy over the growing intimacy between Dalí and Lorca and resentment over Dalí's early success as an artist. Since he was 17, he dated the future poet and dramatist Concha Méndez, with whom he vacationed every summer at San Sebastián, he introduced her to his friends at the Residencia as his fiancée. After five years, she broke off the relationship, citing Buñuel's "insufferable character". During his student years, Buñuel became an accomplished hypnotist, he claimed that once, while calming a hysterical prostitute through hypnotic suggestion, he inadvertently put one of the several bystanders into a trance as well.
He was to insist that watching movies was a form of hypnosis: "This kind of cinematographic hypnosis is no doubt due to the darkness of the theatre and to the changing scenes and camera movements, which weaken the spectator's critical intelligence and exercise over him a kind of fascination."Buñuel's interest in films was intensified by a viewing of Fritz Lang's Der müde Tod: "I came out of the Vieux Colombier transformed. Images did become for me the true means of expression. I decided to devote myself to the cinema". At age 72, Buñuel had not lost his enthusiasm for this film, asking the octogenarian Lang for his autograph. In 1925 Buñuel moved to Paris, where he began work as a secretary in an organization called the International Society of Intellectual Cooperation, he became involved in cinema and theater, going to the movies as as three times a day. Through these interests, he met a
Christie's is a British auction house. It was founded in 1766 by James Christie, its main premises are on King Street, St James's, in London and in the Rockefeller Center in New York City. The company is owned by the holding company of François-Henri Pinault. Sales in 2015 totalled £4.8 billion. In 2017 the Salvator Mundi was sold for $450.3 million at Christie's, which at that time was the highest price paid for a single painting at an auction. The official company literature states that founder James Christie conducted the first sale in London, England, on 5 December 1766, the earliest auction catalogue the company retains is from December 1766. However, other sources note that James Christie rented auction rooms from 1762, newspaper advertisements for Christie's sales dating from 1759 have been traced. Christie's was a public company, listed on the London Stock Exchange, from 1973 to 1999. In 1974, Jo Floyd was appointed chairman of Christie's, he served as chairman of Christie's International plc from 1976 to 1988, until handing over to Lord Carrington, was a non-executive director until 1992.
Christie's International Inc. held its first sale in the United States in 1977. Christie's growth was steady since 1989, when it had 42 % of the auction market. In 1990, the company reversed a long-standing policy and guaranteed a minimum price for a collection of artworks in its May auctions. In 1996, sales exceeded those of Sotheby's for the first time since 1954. However, profits did not grow at the same pace. In 1993, Christie's paid $12.7 million for the London gallery Spink & Son, which specialised in Oriental art and British paintings. The company bought Leger Gallery for $3.3 million in 1996, merged it with Spink to become Spink-Leger. Spink-Leger closed in 2002. To make itself competitive with Sotheby's in the property market, Christie's bought Great Estates in 1995 the largest network of independent estate agents in North America, changing its name to Christie's Great Estates Inc. In December 1997, under the chairmanship of Lord Hindlip, Christie's put itself on the auction block, but after two months of negotiations with the consortium-led investment firm SBC Warburg Dillon Read it did not attract a bid high enough to accept.
In May 1998, François Pinault's holding company, Groupe Artémis S. A. first bought 29.1 percent of the company for $243.2 million, subsequently purchased the rest of it in a deal that valued the entire company at $1.2 billion. The company has since not been reporting profits, its policy, in line with UK accounting standards, is to convert non-UK results using an average exchange rate weighted daily by sales throughout the year. In 2002, Christie's France held its first auction in Paris. Like Sotheby's, Christie's became involved in high-profile private transactions. In 2006, Christie's offered a reported $21 million guarantee to the Donald Judd Foundation and displayed the artist's works for five weeks in an exhibition that won an AICA award for "Best Installation in an Alternative Space". In 2007 it brokered a $68 million deal that transferred Thomas Eakins's The Gross Clinic from the Jefferson Medical College at the Thomas Jefferson University in Philadelphia to joint ownership by the Philadelphia Museum of Art and the Pennsylvania Academy of the Fine Arts.
In the same year, the Haunch of Venison gallery became a subsidiary of the company. On 28 December 2008, The Sunday Times reported that Pinault's debts left him "considering" the sale of Christie's and that a number of "private equity groups" were thought to be interested in its acquisition. In January 2009, the company employed 2,100 people worldwide, though an unspecified number of staff and consultants were soon to be cut due to a worldwide downturn in the art market. With sales for premier Impressionist and contemporary artworks tallying only US$248.8 million in comparison to US$739 million just a year before, a second round of job cuts began after May 2009. Guy Bennett resigned just before to the beginning of the summer 2009 sales season. Although the economic downturn has encouraged some collectors to sell art, others are unwilling to sell in a market which may yield only bargain prices. On 1 January 2017, Guillaume Cerutti was appointed chief executive officer. Patricia Barbizet was appointed chief executive officer of Christie's in 2014, the first female CEO of the company.
She replaced Steven Murphy, hired in 2010 to develop their online presence and launch in new markets, such as China. In 2012, Impressionist works, which dominated the market during the 1980s boom, were replaced by contemporary art as Christie's top category. Asian art was the third most-lucrative area. With income from classic auctioneering falling, treaty sales made £413.4 million in the first half of 2012, an increase of 53% on the same period last year. The company has promoted curated events, centred on a theme rather than an art classification or time period; as part of a companywide review in 2017, Christie's announced the layoffs of 250 employees, or 12 percent of the total work force, based in Britain and Europe. From 2008 until 2013, Christie's charged 25 percent for the first $50,000. From 2013, it charged 25 percent for the first $75,000. Christie's main London salesroom is on
Henri-Robert-Marcel Duchamp was a French-American painter, chess player, writer whose work is associated with Cubism and conceptual art. He was not directly associated with Dada groups. Duchamp is regarded, along with Pablo Picasso and Henri Matisse, as one of the three artists who helped to define the revolutionary developments in the plastic arts in the opening decades of the 20th century, responsible for significant developments in painting and sculpture. Duchamp has had an immense impact on twentieth-century and twenty first-century art, he had a seminal influence on the development of conceptual art. By World War I, he had rejected the work of many of his fellow artists as "retinal" art, intended only to please the eye. Instead, Duchamp wanted to use art to serve the mind. Marcel Duchamp was born at Blainville-Crevon in Normandy and grew up in a family that enjoyed cultural activities; the art of painter and engraver Émile Frédéric Nicolle, his maternal grandfather, filled the house, the family liked to play chess, read books and make music together.
Of Eugene and Lucie Duchamp's seven children, one died as an infant and four became successful artists. Marcel Duchamp was the brother of: Jacques Villon, printmaker Raymond Duchamp-Villon, sculptor Suzanne Duchamp-Crotti, painter; as a child, with his two elder brothers away from home at school in Rouen, Duchamp was closer to his sister Suzanne, a willing accomplice in games and activities conjured by his fertile imagination. At eight years old, Duchamp followed in his brothers' footsteps when he left home and began schooling at the Lycée Pierre-Corneille, in Rouen. Two other students in his class became well-known artists and lasting friends: Robert Antoine Pinchon and Pierre Dumont. For the next eight years, he was locked into an educational regime which focused on intellectual development. Though he was not an outstanding student, his best subject was mathematics and he won two mathematics prizes at the school, he won a prize for drawing in 1903, at his commencement in 1904 he won a coveted first prize, validating his recent decision to become an artist.
He learned academic drawing from a teacher who unsuccessfully attempted to "protect" his students from Impressionism, Post-Impressionism, other avant-garde influences. However, Duchamp's true artistic mentor at the time was his brother Jacques Villon, whose fluid and incisive style he sought to imitate. At 14, his first serious art attempts were drawings and watercolors depicting his sister Suzanne in various poses and activities; that summer he painted landscapes in an Impressionist style using oils. Duchamp's early art works align with Post-Impressionist styles, he experimented with classical subjects. When he was asked about what had influenced him at the time, Duchamp cited the work of Symbolist painter Odilon Redon, whose approach to art was not outwardly anti-academic, but individual, he studied art at the Académie Julian from 1904 to 1905, but preferred playing billiards to attending classes. During this time Duchamp sold cartoons which reflected his ribald humor. Many of the drawings use visual puns, or both.
Such play with words and symbols engaged his imagination for the rest of his life. In 1905, he began his compulsory military service with the 39th Infantry Regiment, working for a printer in Rouen. There he learned typography and printing processes—skills he would use in his work. Owing to his eldest brother Jacques' membership in the prestigious Académie royale de peinture et de sculpture Duchamp's work was exhibited in the 1908 Salon d'Automne, the following year in the Salon des Indépendants. Fauves and Paul Cézanne's proto-Cubism influenced his paintings, although the critic Guillaume Apollinaire—who was to become a friend—criticized what he called "Duchamp's ugly nudes". Duchamp became lifelong friends with exuberant artist Francis Picabia after meeting him at the 1911 Salon d'Automne, Picabia proceeded to introduce him to a lifestyle of fast cars and "high" living. In 1911, at Jacques' home in Puteaux, the brothers hosted a regular discussion group with Cubist artists including Picabia, Robert Delaunay, Fernand Léger, Roger de La Fresnaye, Albert Gleizes, Jean Metzinger, Juan Gris, Alexander Archipenko.
Poets and writers participated. The group came to be known as the Section d'Or. Uninterested in the Cubists' seriousness, or in their focus on visual matters, Duchamp did not join in discussions of Cubist theory and gained a reputation of being shy. However, that same year he painted in a Cubist style and added an impression of motion by using repetitive imagery. During this period Duchamp's fascination with transition, change and distance became manifest, as many artists of the time, he was intrigued with the concept of depicting the fourth dimension in art, his painting Sad Young Man on a Train embodies this concern: First, there's the idea of the movement of the train, that of the sad young man, in a corridor and, moving about. There is the distortion of the young man—I had called this elementary parallelism, it was a formal decomposition. The object is stretched out, as if elastic; the lines follow each other in parallels, while changing subtly to form the movement, or the form of the young man in question
Surrealism is a cultural movement that began in the early 1920s, is best known for its visual artworks and writings. Artists painted unnerving, illogical scenes with photographic precision, created strange creatures from everyday objects, developed painting techniques that allowed the unconscious to express itself, its aim was to "resolve the contradictory conditions of dream and reality into an absolute reality, a super-reality". Works of surrealism feature the element of unexpected juxtapositions and non sequitur. Leader André Breton was explicit in his assertion that Surrealism was, above all, a revolutionary movement. Surrealism developed out of the Dada activities during World War I and the most important center of the movement was Paris. From the 1920s onward, the movement spread around the globe affecting the visual arts, literature and music of many countries and languages, as well as political thought and practice and social theory; the word'surrealism' was coined in March 1917 by Guillaume Apollinaire three years before Surrealism emerged as an art movement in Paris.
He wrote in a letter to Paul Dermée: "All things considered, I think in fact it is better to adopt surrealism than supernaturalism, which I first used". Apollinaire used the term in his program notes for Serge Diaghilev’s Ballets Russes, which premiered 18 May 1917. Parade was performed with music by Erik Satie. Cocteau described the ballet as "realistic". Apollinaire went further, describing Parade as "surrealistic": This new alliance—I say new, because until now scenery and costumes were linked only by factitious bonds—has given rise, in Parade, to a kind of surrealism, which I consider to be the point of departure for a whole series of manifestations of the New Spirit, making itself felt today and that will appeal to our best minds. We may expect it to bring about profound changes in our arts and manners through universal joyfulness, for it is only natural, after all, that they keep pace with scientific and industrial progress; the term was taken up again by Apollinaire, in the preface to his play Les Mamelles de Tirésias, written in 1903 and first performed in 1917.
World War I scattered the writers and artists, based in Paris, in the interim many became involved with Dada, believing that excessive rational thought and bourgeois values had brought the conflict of the war upon the world. The Dadaists protested with anti-art gatherings, performances and art works. After the war, when they returned to Paris, the Dada activities continued. During the war, André Breton, who had trained in medicine and psychiatry, served in a neurological hospital where he used Sigmund Freud's psychoanalytic methods with soldiers suffering from shell-shock. Meeting the young writer Jacques Vaché, Breton felt that Vaché was the spiritual son of writer and pataphysics founder Alfred Jarry, he admired the young writer's anti-social disdain for established artistic tradition. Breton wrote, "In literature, I was successively taken with Rimbaud, with Jarry, with Apollinaire, with Nouveau, with Lautréamont, but it is Jacques Vaché to whom I owe the most."Back in Paris, Breton joined in Dada activities and started the literary journal Littérature along with Louis Aragon and Philippe Soupault.
They began experimenting with automatic writing—spontaneously writing without censoring their thoughts—and published the writings, as well as accounts of dreams, in the magazine. Breton and Soupault wrote The Magnetic Fields. Continuing to write, they came to believe that automatism was a better tactic for societal change than the Dada form of attack on prevailing values; the group attracted additional members and grew to include writers and artists from various media such as Paul Éluard, Benjamin Péret, René Crevel, Robert Desnos, Jacques Baron, Max Morise, Pierre Naville, Roger Vitrac, Gala Éluard, Max Ernst, Salvador Dalí, Luis Buñuel, Man Ray, Hans Arp, Georges Malkine, Michel Leiris, Georges Limbour, Antonin Artaud, Raymond Queneau, André Masson, Joan Miró, Marcel Duchamp, Jacques Prévert, Yves Tanguy. As they developed their philosophy, they believed that Surrealism would advocate the idea that ordinary and depictive expressions are vital and important, but that the sense of their arrangement must be open to the full range of imagination according to the Hegelian Dialectic.
They looked to the Marxist dialectic and the work of such theorists as Walter Benjamin and Herbert Marcuse. Freud's work with free association, dream analysis, the unconscious was of utmost importance to the Surrealists in developing methods to liberate imagination, they embraced idiosyncrasy, while rejecting the idea of an underlying madness. As Salvador Dalí proclaimed, "There is only one difference between a madman and me. I am not mad."Beside the use of dream analysis, they emphasized that "one could combine inside the same frame, elements not found together to produce illogical and startling effects." Breton included the idea of the startling juxtapositions in his 1924 manifesto, taking it in turn from a 1918 essay by poet Pierre Reverdy, which said: "a juxtaposition of two more or less distant realities. The more the relationship between the two juxtaposed realities is distant and true, the stronger the image will be−the greater its emotional power and poetic reality."The group aimed to revolutionize human experience, in its
Salvador Domingo Felipe Jacinto Dalí i Domènech, 1st Marquis of Dalí de Púbol, known professionally as Salvador Dalí, was a prominent Spanish surrealist born in Figueres, Spain. Dalí was a skilled draftsman, best known for the bizarre images in his surrealist work, his painterly skills are attributed to the influence of Renaissance masters. His best-known work, The Persistence of Memory, was completed in August 1931. Dalí's expansive artistic repertoire included film and photography, at times in collaboration with a range of artists in a variety of media. Dalí attributed his "love of everything, gilded and excessive, my passion for luxury and my love of oriental clothes" to an "Arab lineage", claiming that his ancestors were descendants of the Moors. Dalí was imaginative, enjoyed indulging in unusual and grandiose behavior. To the dismay of those who held his work in high regard, to the irritation of his critics, his eccentric manner and attention-grabbing public actions sometimes drew more attention than his artwork.
Salvador Dalí was born on 11 May 1904, at 8:45 am GMT, on the first floor of Carrer Monturiol, 20, in the town of Figueres, in the Empordà region, close to the French border in Catalonia, Spain. Dalí's older brother, named Salvador, had died of gastroenteritis nine months earlier, on 1 August 1903, his father, Salvador Rafael Aniceto Dalí Cusí was a middle-class lawyer and notary, an anti-clerical atheist and Catalan federalist, whose strict disciplinary approach was tempered by his wife, Felipa Domènech Ferrés, who encouraged her son's artistic endeavors. In the summer of 1912, the family moved to the top floor of Carrer Monturiol 24; as a child Dalí was taken to his brother's grave and told by his parents that he was his brother's reincarnation, a concept which he came to believe. Of his brother, Dalí said, " resembled each other like two drops of water, but we had different reflections." He "was a first version of myself but conceived too much in the absolute." Images of his long-dead brother would reappear embedded in his works, including Portrait of My Dead Brother.
Dalí had a sister, Anna Maria, three years younger. In 1949, she published a book about her brother, his childhood friends included Josep Samitier. During holidays at the Catalan resort of Cadaqués, the trio played football together. Dalí attended drawing school. In 1916, he discovered modern painting on a summer vacation trip to Cadaqués with the family of Ramon Pichot, a local artist who made regular trips to Paris; the next year, Dalí's father organized an exhibition of his charcoal drawings in their family home. He had his first public exhibition at the Municipal Theatre in Figueres in 1918, a site he would return to decades later. On 6 February 1921, Dalí's mother died of uterus cancer. Dalí was 16 years old. I worshipped her... I could not resign myself to the loss of a being on whom I counted to make invisible the unavoidable blemishes of my soul." After her death, Dalí's father married his deceased wife's sister. Dalí did not resent this marriage, because he had great respect for his aunt. In 1922, Dalí moved into the Residencia de Estudiantes in Madrid and studied at the Real Academia de Bellas Artes de San Fernando.
A lean 1.72 metres tall, Dalí drew attention as an eccentric and dandy. He had long hair and sideburns, coat and knee-breeches in the style of English aesthetes of the late 19th century. At the Residencia, he became close friends with Pepín Bello, Luis Buñuel, Federico García Lorca; the friendship with Lorca had a strong element of mutual passion, but Dalí rejected the poet's sexual advances. It was his paintings in which he experimented with Cubism, that earned him the most attention from his fellow students. Since there were no Cubist artists in Madrid at the time, his knowledge of Cubist art had come from magazine articles and a catalog given to him by Pichot. Dalí, still unknown to the public, illustrated a book for the first time in 1924, it was a publication of the Catalan poem Les bruixes de Llers by his friend and schoolmate, poet Carles Fages de Climent. Dalí experimented with Dada, which influenced his work throughout his life. Dalí held his first solo exhibition at Galeries Dalmau in Barcelona, from 14 to 27 November 1925.
At the time Dalí was not yet immersed in the Surrealist style for which he would become famous. The exhibition was well received by critics; the following year he exhibited again at Galeries Dalmau, from 31 December 1926 to 14 January 1927, with the support of the art critic Sebastià Gasch. Dalí left the Academy in 1926, shortly before his final exams, his mastery of painting skills at that time was evidenced by his realistic The Basket of Bread, painted in 1926. That same year, he made his first visit to Paris, where he met Pablo Picasso, whom the young Dalí revered. Picasso had heard favorable reports about Dalí from Joan Miró, a fellow Catalan who introduced him to many Surrealist friends; as he developed his own style over the next few years, Dalí made a number of works influenced by Picasso and Miró. Some trends in Dalí's work that would continue throughout his life were evident in the 1920s. Dalí was influenced by many styles of art, ranging from the most academically classic, to the most cutting-edge avant-garde.
His classical influences i
Eugène Atget was a French flâneur and a pioneer of documentary photography, noted for his determination to document all of the architecture and street scenes of Paris before their disappearance to modernization. Most of his photographs were first published by Berenice Abbott after his death. An inspiration for the surrealists and other artists, his genius was only recognized by a handful of young artists in the last two years of his life, he did not live to see the wide acclaim his work would receive. Jean-Eugène-Auguste Atget was born 12 February 1857 in Libourne, his father, carriage builder Jean-Eugène Atget, died in 1862, his mother, Clara-Adeline Atget née Hourlier died shortly after. He was brought up by his maternal grandparents in Bordeaux and after finishing secondary education joined the merchant navy. Atget moved to Paris in 1878, he was admitted when he had a second try. Because he was drafted for military service he could attend class only part-time, he was expelled from drama school.
Still living in Paris, he became an actor with a travelling group, performing in the Paris suburbs and the provinces. He met actress Valentine Delafosse Compagnon, he gave up acting because of an infection of his vocal cords in 1887, moved to the provinces and took up painting without success. His first photographs, of Amiens and Beauvais, date from 1888. In 1890, Atget moved back to Paris and became a professional photographer, supplying documents for artists: studies for painters and stage designers. Starting in 1898, institutions such as the Musée Carnavalet and the Bibliothèque historique de la ville de Paris bought his photographs; the latter commissioned. In 1899 he moved to Montparnasse. While being a photographer Atget still called himself an actor, giving lectures and readings. During World War I Eugène Atget temporarily stored his archives in his basement for safekeeping and completely gave up photography. Valentine's son Léon was killed at the front. In 1920–21, he sold thousands of his negatives to institutions.
Financially independent, he took up photographing the parks of Versailles, Saint-Cloud and Sceaux and produced a series of photographs of prostitutes. Berenice Abbott, while working with Man Ray, visited Atget in 1925, bought some of his photographs, tried to interest other artists in his work, she continued to promote Atget through various articles and books, sold her Atget collection to the Museum of Modern Art in 1968. In 1926, Valentine died, Man Ray published several of Atget's photographs in his La Révolution surréaliste. Abbott took Atget's portrait in 1927. Eugène Atget died 4 August 1927 in Paris. Atget took up photography in the late 1880s, around the time that photography was experiencing unprecedented expansion in both commercial and amateur fields, he sold photos of landscapes and other pleasantries to other artists. It was not until 1897 that Atget started a project he would continue for the rest of his life—his Old Paris collection. Atget photographed Paris with a large-format wooden bellows camera with a rapid rectilinear lens.
The images were developed as 18x24cm glass dry plates. Between 1897 and 1927, Atget captured the old Paris in his pictures, his photographs show the city in its various facets: narrow lanes and courtyards in the historic city center with its old buildings, of which some were soon to be demolished, magnificent palaces from before World War II, bridges and quays on the banks of the Seine, shops with their window displays. He photographed stairwells and architectural details on the façades and took pictures of the interiors of apartments, his interest extended to the environs of Paris. In addition to architecture and the urban environment, he photographed street-hawkers, small tradesmen, rag collectors and prostitutes, as well as fairs and popular amusements in the various districts; the outlying districts and peripheral areas, in which the poor and homeless sought shelter furnished him with pictorial subjects. Distinguishing characteristics of Atget's photography include a wispy, drawn-out sense of light due to his long exposures, a wide view that suggested space and ambiance more than surface detail, an intentionally limited range of scenes avoiding the bustling modern Paris, around the corner from the nostalgia-steeped nooks he preferred.
The emptiness of most of his streets and the sometimes blurred figures in those with people are due to his antiquated technique, including extended exposure times which required that many of his images be made in the early morning hours before pedestrians and traffic appeared. The mechanical vignetting seen at some corners of his photographs is due to his having repositioned the lens relative to the plate on the camera—exploiting one of the features of bellows view cameras as a way to correct perspective and control the image, he said, "I have done little justice to the Great City of Paris", as a comment on his career. Atget's photographs attracted the attention of artists such as Man Ray, André Derain, Henri Matisse and Picasso in the 1920s. Man Ray not only purchased a number of Atget's photographs but used During the Eclipse for the cover of his surrealist magazine la Révolution surréaliste; when he asked Atget if he could use his photo, Atget said: "Don't put my name on it. These are documents I make."
Man Ray said that Atget's pictures of staircases, doorways and those with window reflections and mannequins, had a Dada or Surrealist quality about them. Man Ray was a neighbor of Atget—they lived on the same
Oil painting is the process of painting with pigments with a medium of drying oil as the binder. Used drying oils include linseed oil, poppy seed oil, walnut oil, safflower oil; the choice of oil imparts a range of properties to the oil paint, such as the amount of yellowing or drying time. Certain differences, depending on the oil, are visible in the sheen of the paints. An artist might use several different oils in the same painting depending on specific pigments and effects desired; the paints themselves develop a particular consistency depending on the medium. The oil may be boiled with a resin, such as pine resin or frankincense, to create a varnish prized for its body and gloss. Although oil paint was first used for Buddhist paintings by painters in western Afghanistan sometime between the fifth and tenth centuries, it did not gain popularity until the 15th century, its practice may have migrated westward during the Middle Ages. Oil paint became the principal medium used for creating artworks as its advantages became known.
The transition began with Early Netherlandish painting in Northern Europe, by the height of the Renaissance oil painting techniques had completely replaced the use of tempera paints in the majority of Europe. In recent years, water miscible. Water-soluble paints are either engineered or an emulsifier has been added that allows them to be thinned with water rather than paint thinner, allows, when sufficiently diluted fast drying times when compared with traditional oils. Traditional oil painting techniques begin with the artist sketching the subject onto the canvas with charcoal or thinned paint. Oil paint is mixed with linseed oil, artist grade mineral spirits, or other solvents to make the paint thinner, faster or slower-drying. A basic rule of oil paint application is'fat over lean', meaning that each additional layer of paint should contain more oil than the layer below to allow proper drying. If each additional layer contains less oil, the final painting will peel; this rule does not ensure permanence.
There are many other media that can be used with the oil, including cold wax and varnishes. These additional media can aid the painter in adjusting the translucency of the paint, the sheen of the paint, the density or'body' of the paint, the ability of the paint to hold or conceal the brushstroke; these aspects of the paint are related to the expressive capacity of oil paint. Traditionally, paint was transferred to the painting surface using paintbrushes, but there are other methods, including using palette knives and rags. Oil paint remains wet longer than many other types of artists' materials, enabling the artist to change the color, texture or form of the figure. At times, the painter might remove an entire layer of paint and begin anew; this can be done with a rag and some turpentine for a time while the paint is wet, but after a while the hardened layer must be scraped. Oil paint dries by oxidation, not evaporation, is dry to the touch within a span of two weeks, it is dry enough to be varnished in six months to a year.
Although the history of tempera and related media in Europe indicates that oil painting was discovered there independently, there is evidence that oil painting was used earlier in Afghanistan. Outdoor surfaces and surfaces like shields—both those used in tournaments and those hung as decorations—were more durable when painted in oil-based media than when painted in the traditional tempera paints. Most Renaissance sources, in particular Vasari, credited northern European painters of the 15th century, Jan van Eyck in particular, with the "invention" of painting with oil media on wood panel supports. However, Theophilus gives instructions for oil-based painting in his treatise, On Various Arts, written in 1125. At this period, it was used for painting sculptures and wood fittings especially for outdoor use. However, early Netherlandish painting with artists like Van Eyck and Robert Campin in the 15th century were the first to make oil the usual painting medium, explore the use of layers and glazes, followed by the rest of Northern Europe, only Italy.
Early works were still panel paintings on wood, but around the end of the 15th century canvas became more popular as the support, as it was cheaper, easier to transport, allowed larger works, did not require complicated preliminary layers of gesso. Venice, where sail-canvas was available, was a leader in the move to canvas. Small cabinet paintings were made on metal copper plates; these supports were more expensive but firm, allowing intricately fine detail. Printing plates from printmaking were reused for this purpose; the popularity of oil spread through Italy from the North, starting in Venice in the late 15th century. By 1540, the previous method for painting on panel had become all but extinct, although Italians continued to use chalk-based fresco for wall paintings, less successful and durable in damper northern climates; the linseed oil itself comes from a common fiber crop. Linen, a "support" for oil painting comes from the flax plant. Safflower oil or the walnut or poppyseed oil are sometimes used in formulating lighter colors li