1.
1848 in art
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Events from the year 1848 in art. April 10 – John Ruskin marries Effie Gray in Scotland, september – John Everett Millais, William Holman Hunt and Dante Gabriel Rossetti found the pre-Raphaelite Brotherhood in the formers family home in Gower Street. December 10 – The Leipzig Art Association opens the Städtische Museum, in Cambridge, England, the Fitzwilliam Museums Founders Building is opened. In Copenhagen, Denmark, the Thorvaldsen Museum of sculpture is opened
2.
1850 in art
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Events from the year 1850 in art. Controversial exhibition of Pre-Raphaelite paintings by Holman Hunt and Millais at the Royal Academy, james Collinson resigns from the Pre-Raphaelite Brotherhood, which then dissolves. Francisco Goyas engravings, Proverbios, are posthumously published, edouard Pingret relocates to Mexico City. Grand Prix de Rome, painting, William-Adolphe Bouguereau, Paul Baudry, Grand Prix de Rome, sculpture, Grand Prix de Rome, architecture, Grand Prix de Rome, music, J. A
3.
1855 in art
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Events from the year 1855 in art. July 3 – John Everett Millais and Effie Gray marry, jean Auguste Dominique Ingres exhibits Venus Anadyomene, which has taken him forty years to complete. William Bell Scott begins painting murals of Northumbrian history at Wallington Hall, the Bavarian National Museum is founded by King Maximilian II of Bavaria. Kelly, American sculptor and illustrator September 8 – William Friese-Greene, English photographer and cinematographer Willis E
4.
1859 in art
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Events from the year 1859 in art. March 22 – Scottish National Gallery opens to the public in Edinburgh in neoclassical premises designed by W. H. Playfair, april 26 – William Morris marries his model, Jane Burden. Edward Burne-Jones presents them with a self-painted wardrobe, frederic E. Churchs The Heart of the Andes is exhibited in New York and draws 12,000 paying visitors. The Artists Rifles set up in London as a unit of the British Army
5.
1861 in art
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Events from the year 1861 in art. February – Hilda Sjölin opens a studio in Malmö, making her one of the first known Swedish female professional photographers. Paul Cézanne and his friend Émile Zola arrive in Paris, berthe Morisot becomes a pupil of Corot. Édouard Manet has his first paintings accepted by the Salon, william Bell Scott concludes his series of murals of Northumbrian history at Wallington Hall with Iron and Coal, the Nineteenth Century
6.
1863 in art
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Events from the year 1863 in art. March – American-born painter James McNeill Whistler settles close to the River Thames in Chelsea, London, the École des Beaux-Arts in Paris becomes independent of the Académie des Beaux-Arts. Julia Margaret Cameron takes up photography, alexander Gilchrists Life of William Blake, Pictor Ignotus is published in London, edited posthumously by Anne Gilchrist. May 17 – Opening of first exhibition of the Salon des Refusés in Paris, and coining of the term avant-garde
7.
1864 in art
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Events from the year 1864 in art. January 30 – National Gallery of Ireland opens to the public in Dublin in a designed by Francis Fowke based on early plans by Charles Lanyon. February 20 – Painter George Frederic Watts marries his 16-year-old model and she elopes less than a year later. December 30 – Julia Margaret Cameron sends John Herschel an album of her first years photography including her iconic portrait of him, stanisław Chlebowski takes up a post as master painter to Sultan Abdülaziz in Istanbul. The National Gallery in London acquires The Annunciation, with Saint Emidius from Lord Taunton, F. Watts – Choosing James McNeill Whistler Caprice in Purple and Gold, The Golden Screen Symphony in White, No
8.
1865 in art
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Events from the year 1865 in art. July 21 – Charles Dodgson photographs Effie Gray Millais, John Everett Millais, ford Madox Brown completes his painting Work after thirteen years. Édouard Manets painting Olympia is first exhibited, at the Salon, jean-François Millets painting The Angelus is first exhibited and becomes very popular in France. The Bargello in Florence becomes an art museum
9.
1857 in architecture
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The year 1857 in architecture involved some significant events. September 17 - Official opening of the Municipal Theatre of Santiago, absecon Lighthouse in Atlantic City, New Jersey, United States, designed by George Meade. Ahırkapı Feneri, Istanbul, Turkey, designed by French engineers, britannia Music Hall, Glasgow, Scotland, designed by Thomas Gildard and H. M. McFarlane. Old Town Hall, Silkeborg, Denmark, designed by H. C, schwerin Palace, Mecklenburg, largely designed by Georg Adolf Demmler. Pont Saint-Michel, Paris, France, designed by Paul-Martin Gallocher de Lagalisserie, basilica of Sainte-Clotilde, Paris, France, completed by Théodore Ballu to the design of Franz Christian Gau. All Saints Church, Maidenhead, England, designed and with murals painted by George Edmund Street, museum, Trinity College, Dublin, Ireland, designed by Thomas Deane and Benjamin Woodward. Royal Gold Medal - Owen Jones, grand Prix de Rome, architecture, Joseph Heim
10.
1857 in literature
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This article presents lists of the literary events and publications in 1857. January 5 – Wilkie Collins drama The Frozen Deep is first performed in an amateur performance staged by and featuring Charles Dickens at the latters London home. January 10 – Jules Verne marries Honorine de Viane Morel, February 7 – Gustave Flauberts pioneering realist novel Madame Bovary is acquitted on charges of offending morals and religion from its 1856 expurgated serialization. It is published complete in book form in April by Michel Lévy Frères in Paris, may 5 – American publisher Moses Phillips hosts a dinner for Ralph Waldo Emerson, Henry Wadsworth Longfellow, Oliver Wendell Holmes, Sr. May 10 – Indian Rebellion of 1857 breaks out, it will feature extensively in subsequent fiction, june 25 – Charles Baudelaires collection of poems Les Fleurs du mal is published in Paris. He will be convicted and some of the most decadent poems suppressed on charges of offending morals, september – Obscene Publications Act 1857 is passed in the United Kingdom, making the sale of obscene material a statutory offence. William Dugdale, a target of the act, is one of the first to be charged under it. The Act is replaced with a less stringent one in 1959, september 25 – Eugène Sues extended fiction Les Mystères du peuple is condemned on charges of offending morals and religion, the author having died on August 3. George Eliots Scenes of Clerical Life are serialized in Blackwoods Edinburgh Magazine through the year, her first work of fiction, the British Museum Reading Room opens in London. Saintine – Seul Catharine Maria Sedgwick – Married or Single, adalbert Stifter – Der Nachsommer William Makepeace Thackeray – The Virginians Anthony Trollope – Barchester Towers R. M. With an Introductory Sketch of its Progress, and Suggestions for its Confutation February 7 – Benjamin Eli Smith, American editor of reference books February 9 – A
11.
Victoria and Albert Museum
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The Victoria and Albert Museum, London, is the worlds largest museum of decorative arts and design, housing a permanent collection of over 4.5 million objects. It was founded in 1852 and named after Queen Victoria and Prince Albert and these include the Natural History Museum, the Science Museum and the Royal Albert Hall. The museum is a public body sponsored by the Department for Culture, Media. Like other national British museums, entrance to the museum has been free since 2001, the V&A covers 12.5 acres and 145 galleries. Its collection spans 5,000 years of art, from ancient times to the present day, from the cultures of Europe, North America, Asia and North Africa. The museum owns the worlds largest collection of sculpture, with the holdings of Italian Renaissance items being the largest outside Italy. The departments of Asia include art from South Asia, China, Japan, Korea, the East Asian collections are among the best in Europe, with particular strengths in ceramics and metalwork, while the Islamic collection is amongst the largest in the Western world. Overall, it is one of the largest museums in the world, New 17th- and 18th-century European galleries were opened on 9 December 2015. These restored the original Aston Webb interiors and host the European collections 1600–1815, at this stage the collections covered both applied art and science. Several of the exhibits from the Exhibition were purchased to form the nucleus of the collection, by February 1854 discussions were underway to transfer the museum to the current site and it was renamed South Kensington Museum. In 1855 the German architect Gottfried Semper, at the request of Cole, produced a design for the museum, but it was rejected by the Board of Trade as too expensive. The site was occupied by Brompton Park House, this was extended including the first refreshment rooms opened in 1857, the official opening by Queen Victoria was on 22 June 1857. In the following year, late night openings were introduced, made possible by the use of gas lighting, in these early years the practical use of the collection was very much emphasised as opposed to that of High Art at the National Gallery and scholarship at the British Museum. George Wallis, the first Keeper of Fine Art Collection, passionately promoted the idea of art education through the museum collections. From the 1860s to the 1880s the scientific collections had been moved from the museum site to various improvised galleries to the west of Exhibition Road. In 1893 the Science Museum had effectively come into existence when a director was appointed. The laying of the stone of the Aston Webb building on 17 May 1899 was the last official public appearance by Queen Victoria. It was during this ceremony that the change of name from the South Kensington Museum to the Victoria, the exhibition which the museum organised to celebrate the centennial of the 1899 renaming, A Grand Design, first toured in North America from 1997, returning to London in 1999
12.
Queen Victoria
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Victoria was Queen of the United Kingdom of Great Britain and Ireland from 20 June 1837 until her death. From 1 May 1876, she adopted the title of Empress of India. Victoria was the daughter of Prince Edward, Duke of Kent and Strathearn, both the Duke of Kent and King George III died in 1820, and Victoria was raised under close supervision by her German-born mother Princess Victoria of Saxe-Coburg-Saalfeld. She inherited the throne aged 18, after her fathers three brothers had all died, leaving no surviving legitimate children. The United Kingdom was already a constitutional monarchy, in which the sovereign held relatively little direct political power. Privately, Victoria attempted to influence government policy and ministerial appointments, publicly, Victoria married her first cousin, Prince Albert of Saxe-Coburg and Gotha, in 1840. Their nine children married into royal and noble families across the continent, tying them together, after Alberts death in 1861, Victoria plunged into deep mourning and avoided public appearances. As a result of her seclusion, republicanism temporarily gained strength and her Golden and Diamond Jubilees were times of public celebration. Her reign of 63 years and seven months is known as the Victorian era and it was a period of industrial, cultural, political, scientific, and military change within the United Kingdom, and was marked by a great expansion of the British Empire. She was the last British monarch of the House of Hanover and her son and successor, Edward VII, belonged to the House of Saxe-Coburg and Gotha, the line of his father. Victorias father was Prince Edward, Duke of Kent and Strathearn, until 1817, Edwards niece, Princess Charlotte of Wales, was the only legitimate grandchild of George III. Her death in 1817 precipitated a crisis that brought pressure on the Duke of Kent. In 1818 he married Princess Victoria of Saxe-Coburg-Saalfeld, a widowed German princess with two children—Carl and Feodora —by her first marriage to the Prince of Leiningen and her brother Leopold was Princess Charlottes widower. The Duke and Duchess of Kents only child, Victoria, was born at 4.15 a. m. on 24 May 1819 at Kensington Palace in London. Victoria was christened privately by the Archbishop of Canterbury, Charles Manners-Sutton, on 24 June 1819 in the Cupola Room at Kensington Palace and she was baptised Alexandrina, after one of her godparents, Emperor Alexander I of Russia, and Victoria, after her mother. Additional names proposed by her parents—Georgina, Charlotte, and Augusta—were dropped on the instructions of the Dukes eldest brother, George, the Duke of Clarence and the Duke of Kent married on the same day in 1818, but both of Clarences daughters died as infants. Victorias father died in January 1820, when Victoria was less than a year old, a week later her grandfather died and was succeeded by his eldest son, George IV. The Duke of York died in 1827, when George IV died in 1830, he was succeeded by his next surviving brother, William IV, and Victoria became heir presumptive
13.
Lewis Carroll
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Charles Lutwidge Dodgson, better known by his pen name Lewis Carroll, was an English writer, mathematician, logician, Anglican deacon, and photographer. He is noted for his facility at word play, logic, There are societies in many parts of the world dedicated to the enjoyment and promotion of his works and the investigation of his life. Dodgsons family was predominantly northern English, with Irish connections, conservative, most of Dodgsons male ancestors were army officers or Church of England clergy. His great-grandfather, also named Charles Dodgson, had risen through the ranks of the church to become the Bishop of Elphin. His paternal grandfather, another Charles, had been an army captain, the older of these sons – yet another Charles Dodgson – was Carrolls father. He went to Westminster School and then to Christ Church, Oxford and he reverted to the other family tradition and took holy orders. He was mathematically gifted and won a double first degree, which could have been the prelude to a brilliant academic career, instead, he married his first cousin Frances Jane Lutwidge in 1830 and became a country parson. Dodgson was born in the parsonage at Daresbury in Cheshire near the towns of Warrington and Runcorn. When Charles was 11, his father was given the living of Croft-on-Tees in North Yorkshire, and this remained their home for the next 25 years. He was High Church, inclining to Anglo-Catholicism, an admirer of John Henry Newman and the Tractarian movement, Young Charles was to develop an ambiguous relationship with his fathers values and with the Church of England as a whole. During his early youth, Dodgson was educated at home and his reading lists preserved in the family archives testify to a precocious intellect, at the age of seven, he was reading books such as The Pilgrims Progress. He also suffered from a stammer – a condition shared by most of his siblings – that often influenced his life throughout his years. At the age of twelve, he was sent to Richmond Grammar School at nearby Richmond, in 1846, Dodgson entered Rugby School where he was evidently unhappy, as he wrote some years after leaving, I cannot say. That any earthly considerations would induce me to go through my three years again, I can honestly say that if I could have been. Secure from annoyance at night, the hardships of the daily life would have been comparative trifles to bear, scholastically, though, he excelled with apparent ease. I have not had a promising boy at his age since I came to Rugby. He left Rugby at the end of 1849 and matriculated at Oxford in May 1850 as a member of his fathers old college, after waiting for rooms in college to become available, he went into residence in January 1851. He had been at Oxford only two days when he received a summons home and his mother had died of inflammation of the brain – perhaps meningitis or a stroke – at the age of 47
14.
John Ruskin
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John Ruskin was the leading English art critic of the Victorian era, as well as an art patron, draughtsman, watercolourist, a prominent social thinker and philanthropist. He wrote on subjects as varied as geology, architecture, myth, ornithology, literature, education, botany and his writing styles and literary forms were equally varied. Ruskin also penned essays and treatises, poetry and lectures, travel guides and manuals, letters, the elaborate style that characterised his earliest writing on art was later superseded by a preference for plainer language designed to communicate his ideas more effectively. In all of his writing, he emphasised the connections between nature, art and society and he also made detailed sketches and paintings of rocks, plants, birds, landscapes, and architectural structures and ornamentation. He was hugely influential in the half of the 19th century. After a period of decline, his reputation has steadily improved since the 1960s with the publication of numerous academic studies of his work. Today, his ideas and concerns are widely recognised as having anticipated interest in environmentalism, sustainability, from the 1850s he championed the Pre-Raphaelites who were influenced by his ideas. His work increasingly focused on social and political issues, Unto This Last marked the shift in emphasis. In 1869, Ruskin became the first Slade Professor of Fine Art at the University of Oxford, in 1871, he began his monthly letters to the workmen and labourers of Great Britain, published under the title Fors Clavigera. In the course of this complex and deeply personal work, he developed the principles underlying his ideal society, as a result, he founded the Guild of St George, an organisation that endures today. Ruskin was the child of first cousins. His father, John James Ruskin, was a sherry and wine importer founding partner and de facto manager of Ruskin, Telford. John James was born and brought up in Edinburgh, Scotland, to a mother from Glenluce and his wife, Margaret Cox, née Cock, was the daughter of an aunt on the English side of the family and a publican in Croydon. She had joined the Ruskin household when she became companion to John Jamess mother, John James had hoped to practice law, but was instead articled as a clerk in London. His father, John Thomas Ruskin, described as a grocer, was an inadequate businessman, to save the family from bankruptcy, John James, whose prudence and success were in stark contrast to his father, took on all debts, settling the last of them in 1832. John James and Margaret were engaged in 1809, but opposition to the union from John Thomas, Ruskin was born at 54 Hunter Street, Brunswick Square, London, south of St Pancras railway station. His childhood was characterised by the influences of his father and mother. John James Ruskin helped to develop his sons Romanticism and they shared a passion for the works of Byron, Shakespeare and especially Walter Scott
15.
Pre-Raphaelite Brotherhood
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The Pre-Raphaelite Brotherhood was a group of English painters, poets, and critics, founded in 1848 by William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti. The three founders were joined by William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner to form the seven-member brotherhood and their principles were shared by other artists, including Marie Spartali Stillman and Ford Madox Brown. A later, medievalising strain inspired by Rossetti included Edward Burne-Jones, the groups intention was to reform art by rejecting what it considered the mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo. Its members believed the Classical poses and elegant compositions of Raphael in particular had been an influence on the academic teaching of art. In particular, the group objected to the influence of Sir Joshua Reynolds, founder of the English Royal Academy of Arts, to the Pre-Raphaelites, according to William Michael Rossetti, sloshy meant anything lax or scamped in the process of painting. Any thing or person of a commonplace or conventional kind, the brotherhood sought a return to the abundant detail, intense colours and complex compositions of Quattrocento Italian art. The group associated their work with John Ruskin, an English critic whose influences were driven by his religious background, the group continued to accept the concepts of history painting and mimesis, imitation of nature, as central to the purpose of art. The Pre-Raphaelites defined themselves as a movement, created a distinct name for their form of art. The groups debates were recorded in the Pre-Raphaelite Journal, the Pre-Raphaelite Brotherhood was founded in John Millaiss parents house on Gower Street, London in 1848. At the first meeting, the painters John Everett Millais, Dante Gabriel Rossetti, Hunt and Millais were students at the Royal Academy of Arts and had met in another loose association, the Cyclographic Club, a sketching society. At his own request Rossetti became a pupil of Ford Madox Brown in 1848, at that date, Rossetti and Hunt shared lodgings in Cleveland Street, Fitzrovia, Central London. Hunt had started painting The Eve of St. Agnes based on Keatss poem of the same name, as an aspiring poet, Rossetti wished to develop the links between Romantic poetry and art. Ford Madox Brown was invited to join, but the more senior artist remained independent but supported the group throughout the PRB period of Pre-Raphaelitism, other young painters and sculptors became close associates, including Charles Allston Collins, Thomas Tupper, and Alexander Munro. The PRB intended to keep the existence of the secret from members of the Royal Academy. The principles were deliberately non-dogmatic, since the brotherhood wished to emphasise the personal responsibility of artists to determine their own ideas. Influenced by Romanticism, the members thought freedom and responsibility were inseparable, nevertheless, they were particularly fascinated by medieval culture, believing it to possess a spiritual and creative integrity that had been lost in later eras. The emphasis on medieval culture clashed with principles of realism which stress the independent observation of nature, in its early stages, the Pre-Raphaelite Brotherhood believed its two interests were consistent with one another, but in later years the movement divided and moved in two directions. The realists were led by Hunt and Millais, while the medievalists were led by Rossetti and his followers, Edward Burne-Jones and William Morris
16.
Art Treasures Exhibition, Manchester 1857
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The Art Treasures of Great Britain was an exhibition of fine art held in Manchester, England, from 5 May to 17 October 1857. It remains the largest art exhibition to be held in the UK, possibly in the world, with over 16,000 works on display. It attracted over 1.3 million visitors in the 142 days it was open, about four times the population of Manchester at that time, many of whom visited on organised railway excursions. Manchester was a provincial town in the medieval period, but by 1855 it was a city dominated by industrial activity. It was visited by French historian Alexis de Tocqueville in 1835, from this foul drain, the greatest stream of human industry flows out to fertilise the world. Unlike these earlier exhibitions, the Manchester exhibition was restricted to works of art, a General Committee established in May 1856, chaired by the Lord Lieutenant of Lancashire Lord Ellesmere, assisted by an Executive Committee chaired by Fairbairn. Deane was appointed as General Commissioner, on a salary of £1,000. The committee took artistic advice from German art historian Gustav Waagen, george Scharf was appointed as the exhibitions Art Secretary, he became secretary and director to the newly founded National Portrait Gallery in 1857. The exhibition was held outside the city centre, on a site in Old Trafford owned by Sir Humphrey de Trafford. Manchester Cricket Club surrendered its lease and moved a distance to Old Trafford Cricket Ground. The site was adjacent to Manchester Botanical Garden and to the west of an existing railway line of the Manchester, South Junction. The railway company built a new station which was used by thousands of visitors from the city, the materials used included 650 long tons of cast iron,600 long tons of wrought iron,65,000 square feet of glass and 1.5 million bricks. Internally, the building included a hall, with corrugated iron sides and vaults supported by iron columns, with space for an orchestra at one end. Each column bore the monogram, ATE. The hall was subdivided internally by partitions, creating separate galleries, the interior was lined with wood panels covered with calico. Most internal decoration was done by John Gregory Crace of London, a 24-foot wide gallery ran around the transept at an upper level. The central third of each vault was glazed, providing ample diffuse light, young & Cos original quote of £24,500 proved over-optimistic, and cost overruns pushed the final bill up to £37,461. Over the entrance was inscribed the first line of John Keatss Endymion, by the exit was a line from Alexander Popes Prologue to Joseph Addisons Cato, To wake the soul by tender strokes of art
17.
Manchester
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Manchester is a major city and metropolitan borough in Greater Manchester, England, with a population of 514,414 as of 2013. It lies within the United Kingdoms second-most populous urban area, with a population of 2.55 million, Manchester is fringed by the Cheshire Plain to the south, the Pennines to the north and east and an arc of towns with which it forms a continuous conurbation. The local authority is Manchester City Council and it was historically a part of Lancashire, although areas of Cheshire south of the River Mersey were incorporated during the 20th century. Throughout the Middle Ages Manchester remained a township but began to expand at an astonishing rate around the turn of the 19th century. Manchesters unplanned urbanisation was brought on by a boom in textile manufacture during the Industrial Revolution, Manchester achieved city status in 1853. The Manchester Ship Canal opened in 1894, creating the Port of Manchester and its fortunes declined after the Second World War, owing to deindustrialisation. The city centre was devastated in a bombing in 1996, but it led to extensive investment, in 2014, the Globalization and World Cities Research Network ranked Manchester as a beta world city, the highest-ranked British city apart from London. Manchester is the third-most visited city in the UK and it is notable for its architecture, culture, musical exports, media links, scientific and engineering output, social impact, sports clubs and transport connections. Manchester Liverpool Road railway station was the worlds first inter-city passenger railway station and in the city scientists first split the atom, the name Manchester originates from the Latin name Mamucium or its variant Mancunium and the citizens are still referred to as Mancunians. These are generally thought to represent a Latinisation of an original Brittonic name, both meanings are preserved in languages derived from Common Brittonic, mam meaning breast in Irish and mother in Welsh. The suffix -chester is a survival of Old English ceaster and their territory extended across the fertile lowland of what is now Salford and Stretford. Central Manchester has been settled since this time. A stabilised fragment of foundations of the version of the Roman fort is visible in Castlefield. After the Roman withdrawal and Saxon conquest, the focus of settlement shifted to the confluence of the Irwell, much of the wider area was laid waste in the subsequent Harrying of the North. Thomas de la Warre, lord of the manor, founded and constructed a church for the parish in 1421. The church is now Manchester Cathedral, the premises of the college house Chethams School of Music. The library, which opened in 1653 and is open to the public today, is the oldest free public reference library in the United Kingdom. Manchester is mentioned as having a market in 1282, around the 14th century, Manchester received an influx of Flemish weavers, sometimes credited as the foundation of the regions textile industry
18.
The Gleaners
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The Gleaners is an oil painting by Jean-François Millet completed in 1857. It depicts three peasant women gleaning a field of stray grains of wheat after the harvest, the painting is famous for featuring in a sympathetic way what were then the lowest ranks of rural society, this was received poorly by the French upper classes. Millets The Gleaners was preceded by a painting of the image in 1854. Millet first unveiled The Gleaners at the Salon in 1857, having recently come out of the French Revolution of 1848, these prosperous classes saw the painting as glorifying the lower-class worker. To them, it was a reminder that French society was built upon the labor of the working masses, the depiction of the working class in The Gleaners made the upper classes feel uneasy about their status. The masses of workers drastically outnumbered the members of the upper class, the drastic differences in numbers meant that if the lower class was to revolt the upper class would be overturned. With the French Revolution still fresh on the upper class minds, Millets The Gleaners was also not perceived well due to its enormous size. The size of the painting is 33 inches by 44 inches or 2.75 feet by 3.7 feet and this is huge for a painting depicting labor. Normally this size of a canvas was reserved for religious or mythological style paintings, Millets work did not depict anything religiously affiliated, nor was there any reference to any mythological beliefs. The painting illustrated a view of poverty and the working class. One critic commented that his three gleaners have gigantic pretensions, they pose as the Three Fates of Poverty…their ugliness and their grossness unrelieved, while The Gleaners garnered little but notoriety during his life, after his death in 1875, public appreciation of his work steadily broadened. In 1889, the painting, then owned by banker Ferdinand Bischoffsheim, the buyer remained anonymous, but rumours were that the painting was coveted by an American buyer. At Madame Pommerys death in 1891, and following the conditions of her will and it now resides in the Musée dOrsay in Paris. The Gleaners is one of Millets best known works and its imagery of bending peasant women gleaning was paraphrased frequently in works by younger artists such as Pissarro, Renoir, Seurat, and van Gogh. Art historian Robert Rosenblum says Millets painting introduced imposing new presences in the repertory of art, with endless progeny in city. Daumiers and Degass laundresses, and even more so Caillebottes floor-scrapers, are almost unthinkable without Millets epic hymn to labor, the Gleaners provides evidence of Millets role as a contemporary social critic. Millets representation of class strife on a farm was thus uniquely modern in the 1850s. The painting inspired the name of the Gleaner Manufacturing Company, the painting inspired, and is discussed in, the film by Agnes Varda, The Gleaners and I
19.
Jean-Baptiste-Camille Corot
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Jean-Baptiste-Camille Corot was a French landscape and portrait painter as well as a printmaker in etching. He is a figure in landscape painting and his vast output simultaneously references the Neo-Classical tradition. Jean-Baptiste-Camille Corot was born in Paris on July 16,1796, in a house at 125 Rue du Bac, now demolished. After his parents married, they bought the shop where his mother had worked. The store was a destination for fashionable Parisians and earned the family an excellent income. Corot was the second of three born to the family, who lived above their shop during those years. Corot received a scholarship to study at the Lycée Pierre-Corneille in Rouen and he was not a brilliant student, and throughout his entire school career he did not get a single nomination for a prize, not even for the drawing classes. Unlike many masters who demonstrated early talent and inclinations toward art, during those years he lived with the Sennegon family, whose patriarch was a friend of Corots father and who spent much time with young Corot on nature walks. It was in this region that Corot made his first paintings after nature, at nineteen, Corot was a big child, shy and awkward. Before the beautiful ladies who frequented his mothers salon, he was embarrassed and fled like a wild thing, emotionally, he was an affectionate and well-behaved son, who adored his mother and trembled when his father spoke. When Corots parents moved into a new residence in 1817, the 21-year-old Corot moved into the room on the third floor. Later Corot stated, I told my father that business and I were simply incompatible, the business experience proved beneficial, however, by helping him develop an aesthetic sense through his exposure to the colors and textures of the fabrics. Perhaps out of boredom, he turned to oil painting around 1821 and he immediately rented a studio on quai Voltaire. In both approaches, landscape artists would typically begin with outdoor sketching and preliminary painting, with finishing work done indoors, michallon had a great influence on Corots career. Though this school was on the decline, it held sway in the Salon. Corot later stated, I made my first landscape from nature. under the eye of this painter, the lesson worked, since then I have always treasured precision. Though holding Neoclassicists in the highest regard, Corot did not limit his training to their tradition of allegory set in imagined nature and his notebooks reveal precise renderings of tree trunks, rocks, and plants which show the influence of Northern realism. Throughout his career, Corot demonstrated an inclination to apply both traditions in his work, sometimes combining the two, a condition by his parents before leaving was that he paint a self-portrait for them, his first
20.
New York City
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The City of New York, often called New York City or simply New York, is the most populous city in the United States. With an estimated 2015 population of 8,550,405 distributed over an area of about 302.6 square miles. Located at the tip of the state of New York. Home to the headquarters of the United Nations, New York is an important center for international diplomacy and has described as the cultural and financial capital of the world. Situated on one of the worlds largest natural harbors, New York City consists of five boroughs, the five boroughs – Brooklyn, Queens, Manhattan, The Bronx, and Staten Island – were consolidated into a single city in 1898. In 2013, the MSA produced a gross metropolitan product of nearly US$1.39 trillion, in 2012, the CSA generated a GMP of over US$1.55 trillion. NYCs MSA and CSA GDP are higher than all but 11 and 12 countries, New York City traces its origin to its 1624 founding in Lower Manhattan as a trading post by colonists of the Dutch Republic and was named New Amsterdam in 1626. The city and its surroundings came under English control in 1664 and were renamed New York after King Charles II of England granted the lands to his brother, New York served as the capital of the United States from 1785 until 1790. It has been the countrys largest city since 1790, the Statue of Liberty greeted millions of immigrants as they came to the Americas by ship in the late 19th and early 20th centuries and is a symbol of the United States and its democracy. In the 21st century, New York has emerged as a node of creativity and entrepreneurship, social tolerance. Several sources have ranked New York the most photographed city in the world, the names of many of the citys bridges, tapered skyscrapers, and parks are known around the world. Manhattans real estate market is among the most expensive in the world, Manhattans Chinatown incorporates the highest concentration of Chinese people in the Western Hemisphere, with multiple signature Chinatowns developing across the city. Providing continuous 24/7 service, the New York City Subway is one of the most extensive metro systems worldwide, with 472 stations in operation. Over 120 colleges and universities are located in New York City, including Columbia University, New York University, and Rockefeller University, during the Wisconsinan glaciation, the New York City region was situated at the edge of a large ice sheet over 1,000 feet in depth. The ice sheet scraped away large amounts of soil, leaving the bedrock that serves as the foundation for much of New York City today. Later on, movement of the ice sheet would contribute to the separation of what are now Long Island and Staten Island. The first documented visit by a European was in 1524 by Giovanni da Verrazzano, a Florentine explorer in the service of the French crown and he claimed the area for France and named it Nouvelle Angoulême. Heavy ice kept him from further exploration, and he returned to Spain in August and he proceeded to sail up what the Dutch would name the North River, named first by Hudson as the Mauritius after Maurice, Prince of Orange
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Chantilly, Oise
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Chantilly is a commune in the Oise department in the valley of the Nonette in the Hauts-de-France region of northern France. Surrounded by Chantilly Forest, the town of 11,000 inhabitants falls within the area of Paris. It lies 38.4 km north-northeast from the centre of Paris and it now houses the Musée Condé. Chantilly is also known for its horse racing track, the Chantilly Racecourse, where races are held for the prix du Jockey Club. Chantilly and the communities are home to the largest racehorse-training community in France. Chantilly is also home to the Living Museum of the Horse and it is considered one of the more important tourist destinations in the Paris area. Chantilly gave its name to Chantilly cream and to Chantilly lace, the city was the base for the England National Football Team during the Euro 2016 Championship. Chantilly lies in the Parisian basin, at the end of the region of Hauts-de-France. It belongs to the region of Valois. Chantilly lies 39 km southwest of Beauvais,79 km south of Amiens, Chantilly is the center of an urban area that includes the communes of Avilly-Saint-Léonard, Boran-sur-Oise, Coye-la-Forêt, Gouvieux, Lamorlaye, and Vineuil-Saint-Firmin. Its the third-largest urban area in the Oise and the seventh-largest in Hauts-de-France and it has no large businesses or heavy industry and 40% of the population works in Ile-de-France, in other words Paris or its closer suburbs, which are less than an hour away by train. Chantilly straddles the junction of the Paris Basin and the western Valois, the site of the town was originally a clearing or meadowland, sometimes called a lawn or pelouse, which is mostly occupied today by the racecourse. The remaining open space between the town and the racecourse is always referred to as the little lawn, the highest point in the area,112 meters, is at Bois Lorris, in Lamorlaye. The lowest elevation is 35m, at the Canardière on the banks of the Nonette in Gouvieux, the commune sits on a Lutetian sedimentary limestone plateau covered by Chantilly Forest. Sand created by wind and erosion covers this chalky plateau, although the sand is less than a meter thick it is very useful for training horses in the forest. This stone has also used for building in parts of the region. It was also used for building in Chantilly itself during the 18th century, when a quarry on the current site of the racecourse produced stone for the officials housing. In the following century the quarry was used to grow mushrooms and it now belongs to the Chantilly Estate and is periodically open to the public
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Hiroshige
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Utagawa Hiroshige, also Andō Hiroshige, was a Japanese ukiyo-e artist, considered the last great master of that tradition. Hiroshige is best known for his landscapes, such as the series The Fifty-three Stations of the Tōkaidō and The Sixty-nine Stations of the Kiso Kaidō, and for his depictions of birds and flowers. The subjects of his work were atypical of the genre, whose typical focus was on beautiful women, popular actors. For scholars and collectors, Hiroshiges death marked the beginning of a decline in the ukiyo-e genre. Hiroshiges work came to have an influence on Western painting towards the close of the 19th century as a part of the trend in Japonism. Western artists closely studied Hiroshiges compositions, and some, such as van Gogh, Hiroshige was born in 1797 in the Yayosu Quay section of the Yaesu area in Edo. He was of a background, and was the great-grandson of Tanaka Tokuemon. Hiroshiges grandfather, Mitsuemon, was an instructor who worked under the name Sairyūken. Hiroshiges father, Genemon, was adopted into the family of Andō Jūemon, Hiroshige went through several name changes as a youth, Jūemon, Tokubē, and Tetsuzō. He had three sisters, one of whom died when he was three and his mother died in early 1809, and his father followed later in the year, but not before handing his fire warden duties to his twelve-year-old son. He was charged with prevention of fires at Edo Castle, a duty that left him leisure time. Not long after his parents deaths, perhaps at around fourteen, Hiroshige—then named Tokutarō— began painting and he sought the tutelage of Toyokuni of the Utagawa school, but Toyokuni had too many pupils to make room for him. A librarian introduced him instead to Toyohiro of the same school, by 1812 Hiroshige was permitted to sign his works, which he did under the art name Hiroshige. In 1823, he resigned his post as warden, though he still acted as an alternate. He declined an offer to succeed Toyohiro upon the death in 1828. It was not until 1829–1830 that Hiroshige began to produce the landscapes he has come to be known for and he also created an increasing number of bird and flower prints about this time. An invitation to join a procession to Kyoto in 1832 gave Hiroshige the opportunity to travel along the Tōkaidō route that linked the two capitals. He sketched the scenery along the way, and when he returned to Edo he produced the series The Fifty-three Stations of the Tōkaidō, which contains some of his best-known prints
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One Hundred Famous Views of Edo
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One Hundred Famous Views of Edo is a series of ukiyo-e prints begun and largely completed by the Japanese artist Hiroshige. The prints were first published in serialized form in 1856–59, with Hiroshige II completing the series after Hiroshiges death and it was tremendously popular and much reprinted. Hiroshige painted in the style of the Utagawa school, a 19th-century popular style in woodblock prints, increasingly large series of prints were produced. This trend can be seen in Hiroshige’s work, such as The Fifty-three Stations of the Tōkaidō, many publishing houses arose and grew, publishing both books and individual prints. A publishers ownership of the woodblocks used to print a given text or image constituted the closest equivalent to a concept of copyright that existed at this time. Prints such as these were called ukiyo-e, which pictures of the floating world. This world was one of transient delights and changing fashions centred on the pleasure districts. In the years 1829–36, a seven volume illustrated guidebook Pictures of famous places of Edo was published and it was begun by Saitō Yukio in 1790 and illustrated very accurately by Hasegawa Settan. Hiroshige, in cases, makes use of this guide for his series of colour prints. It is a work inspired a number of Western artists, including Vincent van Gogh. One Hundred Famous Views of Edo, ASIN, B00HR3RHUY Melanie Trede, Hiroshige,100 Views of Edo. ISBN 978-3-8228-4827-2 Henry D. Smith, Hiroshige, One Hundred Famous Views of Edo, ISBN 978-0-8076-1143-2 Hiroshige, One Hundred Famous Views of Edo Brooklyn Museum Online Exhibition
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Plum Park in Kameido
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Plum Park in Kameido is a woodblock print in the ukiyo-e genre by the Japanese artist Hiroshige. It was published in 1857 as the print in the One Hundred Famous Views of Edo series. The picture is part of the series One Hundred Famous Views of Edo which actually features 119 views of named places or celebrated spots in the city of Edo, the series was the first to feature this many separate landscape views. The series was produced between 1856 and 1859, with Hiroshige II finishing the series after the death of Hiroshige in 1858 and this print is the 30th in the series, within its spring section, and was published in the eleventh month of 1857. The series was commissioned shortly after the 1855 Edo earthquake and subsequent fires, the prints may have commemorated or helped draw the attention of Edos citizens to the progress of the rebuilding. The series is in portrait orientation, which was a break from tradition for landscape prints. The tree is shown with an abstract composition, with wide branches taking up much of the foreground. The tree is situated in Umeyashiki, a garden by the banks of the Sumida River in Kameido. Visible between the branches of the Sleeping Dragon Plum are further trees and small figures behind a low fence contemplating the plum blossom, a sign, possibly forbidding vandalism, is in the foreground at the top left of the image. The image demonstrates Hiroshiges mastery of Japanese landscapes and uses his exaggerated single-point perspective whereby the closest objects in view are increased in size, the positioning of the undetailed subject too close to the lens is intended to draw the eye to the scene beyond. In addition the use of the red sky has the effect of flattening the visible space. Vincent Van Gogh was a collector of Japanese prints, decorating his studio with them, Van Gogh ignored the shading present in the trunk and background of Hiroshiges image, which there implied age, and instead used colours with more passion and youthfulness. Many different versions of the print from ukiyo-e. org
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Arthur Hughes (artist)
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Arthur Hughes was an English painter and illustrator associated with the Pre-Raphaelite Brotherhood. In 1846 he entered the art school at Somerset House, his first master being Alfred Stevens, here he met John Everett Millais and Holman Hunt, and became one of the Pre-Raphaelite group of painters. In 1855 Hughes married Tryphena Foord, his model for April Love, Hughes died in Kew Green, London in 1915, leaving about 700 known paintings and drawings, along with over 750 book illustrations. Following the death of Tryphena Hughes in 1921, their daughter Emily had to move to a smaller house, there was, therefore, a shortage of space. As a result, she had her father’s remaining preparatory sketches and he was the father of the English painter Arthur Ford Hughes and the uncle of another, Edward Robert Hughes. Hughes is buried in Richmond Cemetery and his best-known paintings are April Love and The Long Engagement, both of which depict troubled couples contemplating the transience of love and beauty. Like Millais, Hughes also painted Ophelia which is housed at Toledo Museum of Art, hughess version of the latter is in the form of a secular triptych, a technique he repeated for scenes from Shakespeares As You Like It. His works are noted for their magical, glowing colouring and delicate draughtsmanship, the beautiful oil portrait Springtide, first exhibited in Dublin in 1855, features his wife Tryphena. Hughes was in contact with the writer George MacDonald and illustrated some of his books, as well as producing numerous illustrations for Norman MacLeods monthly magazine. List of Pre-Raphaelite paintings - includes catalogue of Arthur Hughes work with links to individual paintings articles
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Rudolf Koller
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Rudolf Koller was a Swiss painter. He is associated with a realist and classicist style, and also with the essentially romantic Düsseldorf school of painting, Kollers style is similar to that of the realist painters Gustave Courbet and Jean-Baptiste-Camille Corot. Considered Switzerlands finest animal painter, Koller is rated alongside George Stubbs, Rosa Bonheur and he has been described as the painter of the Swiss national animal, because of his paintings of cows in Swiss landscapes. He is considered, along with Frank Buchser and Gustave Castan, the Gotthardpost, or The St Gotthard Mailcoach, is one of his most famous paintings. It depicts a coach, drawn by white horses, speeding along a mountain road. Koller was born in Zürich in 1828, in 1830 his father, Johann Heinrich, was a butcher and brewer, who became the innkeeper at the Schwarzen Adler hotel, in the centre of the city near the river. His mother was Maria Ursula née Forster, as the clientele were mostly waggoners and cattle dealers, Koller saw horses and cattle on a daily basis. He started his education at a school, later he attended an elementary school called Fraumünster. From 1840 to 1843 he studied at the industrial school in Zürich. He got his first artistic tuition from his uncle, who was a landscape painter, the young Koller decided to specialise as a painter in depicting horses. Ulrich, who was a painter of landscapes and animals. In 1845 he went to Munich where he worked with a group of artists called the Schweizer, in 1845 horse trials were begun at the stud farm of the King of Württemberg, near Stuttgart, and Koller was hired to produce pictures of horses and dogs there. In 1846-47, he studied drawing under Karl Ferdinand Sohn at the Fine Arts Academy of Düsseldorf. At the Academy Koller formed friendships with the future Swiss symbolist painter Arnold Böcklin, rudolf Koller travelled together with his friend Arnold Böcklin to Brussels and Antwerp, in 1847. In 1847, while living in Paris, he shared a studio with Arnold Böcklin, at the Louvre he copied Netherlandish artworks of the 17th century and familiarized himself with the works of contemporary animal painters such as Rosa Bonheur and Constant Troyon. He also visited the studio of the animal painter Jacques Raymond Brascassat, with the support of the artists’ colony at Barbizon, Koller painted scenes in outdoor settings. In 1848, plagued by difficulties, he returned from France to Zürich. From 1849 to 1850 Koller painted at Hasliberg, a village near Interlaken, later he travelled to Munich, where he became acquainted with the landscape and animal painters Johann Gottfried Steffan and Friedrich Voltz
