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Academy (educational institution)
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Academy is a type of secondary or tertiary education institutions. The word comes from the Academy in ancient Greece, which derives from the Athenian hero, outside the city walls of Athens, the gymnasium was made famous by Plato as a center of learning. The sacred space, dedicated to the goddess of wisdom, Athena, had formerly been an olive grove, in these gardens, the philosopher Plato conversed with followers. Plato developed his sessions into a method of teaching philosophy and in 387 BC, by extension academia has come to mean the cultural accumulation of knowledge, its development and transmission across generations and its practitioners and transmitters. In the 17th century, British, Italian and French scholars used the term to describe types of institutions of higher learning, in ancient Greece, after the establishment of the original Academy, Platos colleagues and pupils developed spin-offs of his method. Arcesilaus, a Greek student of Plato established the Middle Academy, carneades, another student, established the New Academy. In 335 BC, Aristotle refined the method with his own theories, the library of Alexandria in Egypt was frequented by intellectuals from Africa, Europe and Asia studying various aspects of philosophy, language and mathematics. The University of Timbuktu was a university in Timbuktu, present-day Mali. During its zenith, the university had an attendance of around 25,000 students within a city of around 100,000 people. In China a higher education institution Shang Xiang was founded by Shun in the Youyu era before the 21st century BC, in the 8th century another kind of institution of learning emerged, named Shuyuan, which were generally privately owned. There were thousands of Shuyuan recorded in ancient times, the degrees from them varied from one to another and those advanced Shuyuan such as Bailudong Shuyuan and Yuelu Shuyuan can be classified as higher institutions of learning. Taxila or Takshashila, in ancient India, modern-day Pakistan, was an early Buddhist centre of learning and it is considered as one of the ancient universities of the world. According to scattered references which were only fixed a millennium later it may have dated back to at least the 5th century BC, some scholars date Takshashilas existence back to the 6th century BC. The school consisted of several monasteries without large dormitories or lecture halls where the instruction was most likely still provided on an individualistic basis. Takshashila is described in detail in later Jātaka tales, written in Sri Lanka around the 5th century AD. It became a centre of learning at least several centuries BC. Takshashila is perhaps best known because of its association with Chanakya, the famous treatise Arthashastra by Chanakya, is said to have been composed in Takshashila itself. Chanakya, the Maurya Emperor Chandragupta and the Ayurvedic healer Charaka studied at Taxila, generally, a student entered Takshashila at the age of sixteen
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Alexandre Cabanel
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Alexandre Cabanel was a French painter born in Montpellier, Hérault. He painted historical, classical and religious subjects in the academic style and he was also well known as a portrait painter. According to Diccionario Enciclopedico Salvat, Cabanel is the best representative of the Lart pompier, Cabanel entered the École des Beaux-Arts in Paris at the age of seventeen, and studied with François-Édouard Picot. He exhibited at the Paris Salon for the first time in 1844, Cabanel was elected a member of the Institute in 1863. He was appointed professor at the École des Beaux-Arts in 1864 and he was closely connected to the Paris Salon, He was elected regularly to the Salon jury and his pupils could be counted by the hundred at the Salons. Through them, Cabanel did more than any other artist of his generation to form the character of belle époque French painting, Cabanel won the Grande Médaille dHonneur at the Salons of 1865,1867, and 1878. A successful academic painter, his 1863 painting The Birth of Venus is one of the best known examples of 19th-century academic painting, the picture was bought by the emperor Napoleon III, there is also a smaller replica at the Metropolitan Museum of Art in New York City. It was given to them by Wolf in 1893. com
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Figure drawing
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A figure drawing is a drawing of the human form in any of its various shapes and postures using any of the drawing media. The term can refer to the act of producing such a drawing. The degree of representation may range from detailed, anatomically correct renderings to loose. A life drawing is a drawing of the figure from observation of a live model. A figure drawing may be a work of art or a figure study done in preparation for a more finished work such as a painting. Figure drawing is arguably the most difficult subject an artist commonly encounters, the human figure is one of the most enduring themes in the visual arts, and the human figure can be the basis of portraiture, illustration, sculpture, medical illustration, and other fields. Artists take a variety of approaches to drawing the human figure and they may draw from live models or from photographs, from skeletal models, or from memory and imagination. Most instruction focuses on the use of models in life drawing courses, in developing the image, some artists focus on the shapes created by the interplay of light and dark values on the surfaces of the body. For those working without visual reference, proportions commonly recommended in figure drawing are and this can be illustrated to students in the classroom using paper plates to visually demonstrate the length of their bodies. An ideal figure, used for an impression of nobility or grace, is drawn at 8 heads tall, a heroic figure used in the depiction of gods and superheroes is eight-and-a-half heads tall. Most of the length comes from a bigger chest and longer legs. Note that these proportions are most useful for a standing model, poses which introduce foreshortening of various body parts will cause them to differ. The French Salon in the 19th century recommended the use of Conté crayons, erasure was not permitted, instead, the artist was expected to describe the figure in light strokes before making darker, more visible marks. A popular modern technique is the use of a stick, prepared from special vines. The charcoal adheres loosely to the paper, allowing very easy erasure, harder compressed charcoal can produce a more deliberate and precise effect, and graduated tones can be produced by smudging with the fingers or with a cylindrical paper tool called a stump. Graphite pencil is also used for figure drawing. For this purpose artists pencils are sold in formulations, ranging from 9B to 1B. Like charcoal, it can be erased and manipulated using a stump, the artist will often start with graphite pencil to sketch or outline the drawing, then the final line work is done with a pen or brush, with permanent ink
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Royal Danish Academy of Fine Arts
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The Royal Danish Academy of Fine Arts has provided education in the arts for more than 250 years, playing its part in the development of the art of Denmark. The Royal Danish Academy of Portraiture, Sculpture, and Architecture in Copenhagen was inaugurated on 31 March 1754 and its name was changed to the Royal Danish Academy of Painting, Sculpture, and Architecture in 1771. The building boom resulting from the Great Fire of 1795 greatly profited from this initiative, in 1814 the name was changed again, this time to the Royal Danish Academy of Fine Arts. It is still situated in its building, the Charlottenborg Palace. The School of Architecture has been situated in former naval buildings on Holmen since 1996, the academy is larger and better funded than the Jutland Art Academy and Funen Art Academy, which offer similar programs. It teaches and conducts research on the subjects of painting, sculpting, architecture, graphics, photography, the academy is under the administration of the Danish Ministry of Culture. The academy’s School of Architecture offers education in the fields of design and restoration, urban and landscape planning and industrial, graphic. The school has nine departments, four research institutes and six affiliated research centres. The undergraduate course, leading to the Bachelor of Architecture diploma, in 2011, the Wall Street Journal named Ingels the Innovator of the Year for architecture. Hansen Medal Thorvaldsen Medal Eckersberg Medal Thorvald Bindesbøll Medal N. L. Høyen Medal The School of Visual Arts C. C
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Wilhelm Bendz
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Wilhelm Ferdinand Bendz was a Danish painter mainly known for genre works and portraits which often portray his artist colleagues and their daily lives. He was one of the most talented artists in the generation of painters who studied under Christoffer Wilhelm Eckersberg. Wilhelm Bendz was born on 20 March 1804 in Odense on the island of Funen and he was sent to Copenhagen where he attended the Royal Danish Academy of Fine Arts from 1820 to 1825, where he studied under Christoffer Wilhelm Eckersberg. He may also have acquired some knowledge of contemporary German painting, the Munich School, after his graduation from the Academy, Bendz contributed successfully with a number of works to the annual exhibitions at Charlottenborg in 1826,1827 and 1828. Another important work from this phase is A Tobacco Party from 1828, in late 1830 Bendz finally received a travel scholarship which enabled him to leave for southern Europe. After shorter visits to Dresden and Berlin, he went to Munich, which had developed into a vibrant centre for the arts. His most important work from the stay is the thoroughly composed group portrait Artist in the Evening at Fincks Coffee House in Munich and they continued together but shortly after, in Vicenza, Bendz who had felt ill since Venice died from a lung infection. Today he is remembered for his many technically accomplished portraits, though his ambition most of all ran towards a refined fusion of portrait, genre scene. His technical virtuosity is particularly visible in his depictions of the play of light cast from an obscured source, Wilhelm Bendzs works Mortensen, Klaus P. Wilhelm Bendz. Rooms with a View The Open Window in the 19th Century, Bendz, Wilhelm, Saabye, Marianne, Johannesson, Birgitte. Wilhelm Bendz 1804-1832 et ungt kunstnerliv
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Painting
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Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
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Sculpture
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Sculpture is the branch of the visual arts that operates in three dimensions. It is one of the plastic arts, a wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or molded, or cast. However, most ancient sculpture was painted, and this has been lost. Those cultures whose sculptures have survived in quantities include the cultures of the ancient Mediterranean, India and China, the Western tradition of sculpture began in ancient Greece, and Greece is widely seen as producing great masterpieces in the classical period. During the Middle Ages, Gothic sculpture represented the agonies and passions of the Christian faith, the revival of classical models in the Renaissance produced famous sculptures such as Michelangelos David. Relief is often classified by the degree of projection from the wall into low or bas-relief, high relief, sunk-relief is a technique restricted to ancient Egypt. Relief sculpture may also decorate steles, upright slabs, usually of stone, techniques such as casting, stamping and moulding use an intermediate matrix containing the design to produce the work, many of these allow the production of several copies. The term sculpture is used mainly to describe large works. The very large or colossal statue has had an enduring appeal since antiquity, another grand form of portrait sculpture is the equestrian statue of a rider on horse, which has become rare in recent decades. The smallest forms of life-size portrait sculpture are the head, showing just that, or the bust, small forms of sculpture include the figurine, normally a statue that is no more than 18 inches tall, and for reliefs the plaquette, medal or coin. Sculpture is an important form of public art, a collection of sculpture in a garden setting can be called a sculpture garden. One of the most common purposes of sculpture is in form of association with religion. Cult images are common in cultures, though they are often not the colossal statues of deities which characterized ancient Greek art. The actual cult images in the innermost sanctuaries of Egyptian temples, of which none have survived, were rather small. The same is true in Hinduism, where the very simple. Some undoubtedly advanced cultures, such as the Indus Valley civilization, appear to have had no monumental sculpture at all, though producing very sophisticated figurines, the Mississippian culture seems to have been progressing towards its use, with small stone figures, when it collapsed. Other cultures, such as ancient Egypt and the Easter Island culture, from the 20th century the relatively restricted range of subjects found in large sculpture expanded greatly, with abstract subjects and the use or representation of any type of subject now common. Today much sculpture is made for intermittent display in galleries and museums, small sculpted fittings for furniture and other objects go well back into antiquity, as in the Nimrud ivories, Begram ivories and finds from the tomb of Tutankhamun
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Architecture
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Architecture is both the process and the product of planning, designing, and constructing buildings and other physical structures. Architectural works, in the form of buildings, are often perceived as cultural symbols. Historical civilizations are often identified with their surviving architectural achievements, Architecture can mean, A general term to describe buildings and other physical structures. The art and science of designing buildings and nonbuilding structures, the style of design and method of construction of buildings and other physical structures. A unifying or coherent form or structure Knowledge of art, science, technology, the design activity of the architect, from the macro-level to the micro-level. The practice of the architect, where architecture means offering or rendering services in connection with the design and construction of buildings. The earliest surviving work on the subject of architecture is De architectura. According to Vitruvius, a building should satisfy the three principles of firmitas, utilitas, venustas, commonly known by the original translation – firmness, commodity. An equivalent in modern English would be, Durability – a building should stand up robustly, utility – it should be suitable for the purposes for which it is used. Beauty – it should be aesthetically pleasing, according to Vitruvius, the architect should strive to fulfill each of these three attributes as well as possible. Leon Battista Alberti, who elaborates on the ideas of Vitruvius in his treatise, De Re Aedificatoria, saw beauty primarily as a matter of proportion, for Alberti, the rules of proportion were those that governed the idealised human figure, the Golden mean. The most important aspect of beauty was, therefore, an inherent part of an object, rather than something applied superficially, Gothic architecture, Pugin believed, was the only true Christian form of architecture. The 19th-century English art critic, John Ruskin, in his Seven Lamps of Architecture, Architecture was the art which so disposes and adorns the edifices raised by men. That the sight of them contributes to his health, power. For Ruskin, the aesthetic was of overriding significance and his work goes on to state that a building is not truly a work of architecture unless it is in some way adorned. For Ruskin, a well-constructed, well-proportioned, functional building needed string courses or rustication, but suddenly you touch my heart, you do me good. I am happy and I say, This is beautiful, le Corbusiers contemporary Ludwig Mies van der Rohe said Architecture starts when you carefully put two bricks together. The notable 19th-century architect of skyscrapers, Louis Sullivan, promoted an overriding precept to architectural design, function came to be seen as encompassing all criteria of the use, perception and enjoyment of a building, not only practical but also aesthetic, psychological and cultural
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Neoclassicism
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The main Neoclassical movement coincided with the 18th-century Age of Enlightenment, and continued into the early 19th century, laterally competing with Romanticism. In architecture, the style continued throughout the 19th, 20th, European Neoclassicism in the visual arts began c.1760 in opposition to the then-dominant Baroque and Rococo styles. Each neo-classicism selects some models among the range of classics that are available to it. They ignored both Archaic Greek art and the works of Late Antiquity, the Rococo art of ancient Palmyra came as a revelation, through engravings in Woods The Ruins of Palmyra. While the movement is described as the opposed counterpart of Romanticism. The case of the main champion of late Neoclassicism, Ingres, demonstrates this especially well. The revival can be traced to the establishment of formal archaeology, the writings of Johann Joachim Winckelmann were important in shaping this movement in both architecture and the visual arts. With the advent of the Grand Tour, a fad of collecting antiquities began that laid the foundations of many great collections spreading a Neoclassical revival throughout Europe, Neoclassicism in each art implies a particular canon of a classical model. In English, the term Neoclassicism is used primarily of the arts, the similar movement in English literature. This, which had been dominant for decades, was beginning to decline by the time Neoclassicism in the visual arts became fashionable. Though terms differ, the situation in French literature was similar, in music, the period saw the rise of classical music, and Neoclassicism is used of 20th-century developments. Ingress coronation portrait of Napoleon even borrowed from Late Antique consular diptychs and their Carolingian revival, much Neoclassical painting is more classicizing in subject matter than in anything else. A fierce, but often very badly informed, dispute raged for decades over the merits of Greek and Roman art, with Winckelmann. The work of artists, who could not easily be described as insipid, combined aspects of Romanticism with a generally Neoclassical style. Unlike Carstens unrealized schemes, the etchings of Giovanni Battista Piranesi were numerous and profitable and his main subject matter was the buildings and ruins of Rome, and he was more stimulated by the ancient than the modern. Neoclassicism in painting gained a new sense of direction with the success of Jacques-Louis Davids Oath of the Horatii at the Paris Salon of 1785. Despite its evocation of republican virtues, this was a commission by the royal government, David managed to combine an idealist style with drama and forcefulness. David rapidly became the leader of French art, and after the French Revolution became a politician with control of government patronage in art
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Romanticism
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Romanticism was characterized by its emphasis on emotion and individualism as well as glorification of all the past and nature, preferring the medieval rather than the classical. It was embodied most strongly in the arts, music, and literature, but had a major impact on historiography, education. It elevated folk art and ancient custom to something noble, Romanticism assigned a high value to the achievements of heroic individualists and artists, whose examples, it maintained, would raise the quality of society. It also promoted the individual imagination as a critical authority allowed of freedom from classical notions of form in art, there was a strong recourse to historical and natural inevitability, a Zeitgeist, in the representation of its ideas. In the second half of the 19th century, Realism was offered as a polar opposite to Romanticism, the decline of Romanticism during this time was associated with multiple processes, including social and political changes and the spread of nationalism. Defining the nature of Romanticism may be approached from the point of the primary importance of the free expression of the feelings of the artist. The importance the Romantics placed on emotion is summed up in the remark of the German painter Caspar David Friedrich that the feeling is his law. Samuel Taylor Coleridge and others believed there were laws that the imagination—at least of a good creative artist—would unconsciously follow through artistic inspiration if left alone. As well as rules, the influence of models from other works was considered to impede the creators own imagination, so that originality was essential. The concept of the genius, or artist who was able to produce his own work through this process of creation from nothingness, is key to Romanticism. This idea is called romantic originality. Not essential to Romanticism, but so widespread as to be normative, was a strong belief, however, this is particularly in the effect of nature upon the artist when he is surrounded by it, preferably alone. Romantic art addressed its audiences with what was intended to be felt as the voice of the artist. So, in literature, much of romantic poetry invited the reader to identify the protagonists with the poets themselves. In both French and German the closeness of the adjective to roman, meaning the new literary form of the novel, had some effect on the sense of the word in those languages. It is only from the 1820s that Romanticism certainly knew itself by its name, the period typically called Romantic varies greatly between different countries and different artistic media or areas of thought. Margaret Drabble described it in literature as taking place roughly between 1770 and 1848, and few dates much earlier than 1770 will be found. In English literature, M. H. Abrams placed it between 1789, or 1798, this latter a very typical view, and about 1830, however, in most fields the Romantic Period is said to be over by about 1850, or earlier
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William-Adolphe Bouguereau
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William-Adolphe Bouguereau was a French academic painter and traditionalist. In his realistic genre paintings he used mythological themes, making modern interpretations of classical subjects, during his life he enjoyed significant popularity in France and the United States, was given numerous official honors, and received top prices for his work. As the quintessential salon painter of his generation, he was reviled by the Impressionist avant-garde, by the early twentieth century, Bouguereau and his art fell out of favor with the public, due in part to changing tastes. In the 1980s, a revival of interest in figure painting led to a rediscovery of Bouguereau, throughout the course of his life, Bouguereau executed 822 known finished paintings, although the whereabouts of many are still unknown. William-Adolphe Bouguereau was born in La Rochelle, France, on November 30,1825, into a family of wine, the son of Théodore Bouguereau and Marie Bonnin, known as Adeline, William was brought up a Catholic. He had a brother, Alfred, and a younger sister, Marie. The family moved to Saint-Martin-de-Ré in 1832, another sibling was born in 1834, Kitty. At 12 the boy went to Mortagne to stay with his uncle Eugène, a priest, in 1839 he was sent to study the priesthood at a Catholic college in Pons. Here he was taught to draw and paint by Louis Sage who had studied under Ingres, William reluctantly left his studies to return to his family, now residing in Bordeaux. Here the boy met a local artist, Charles Marionneau, William also worked as a shop assistant, hand-colouring lithographs and making small paintings that were reproduced using chromolithography. He was soon the best pupil in his class and decided to become an artist in Paris, to fund the move, he sold portraits -33 oils in three months. All were unsigned and only one has been traced and he arrived in Paris aged 20 in March 1846. Bouguereau became a student at the École des Beaux-Arts, to supplement his formal training in drawing, he attended anatomical dissections and studied historical costumes and archeology. He was admitted to the studio of François-Édouard Picot, where he studied painting in the academic style and he also studied classical literature, which influenced his subject choice for the rest of his career. In April 1848 the young artist entered the Prix de Rome contest, soon after work began there were riots in Paris and Bouguereau enrolled in the National Guard. After an unsuccessful attempt to win the prize, he entered again in 1849, following 106 days of competition he again failed to win. His third attempt commenced in April 1850 and five months later he heard he had won a joint first prize, along with other category winners, William set off for Rome in December and finally arrived at the Villa Medici in January 1851. He explored the city, making sketches and watercolours as he went and he walked to Naples and on to Capri, Amalfi and Pompeii
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Thomas Couture
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Thomas Couture was an influential French history painter and teacher. He taught such later luminaries of the art world as Édouard Manet, Henri Fantin-Latour, John La Farge, Pierre Puvis de Chavannes, Karel Javůrek, Couture was born at Senlis, Oise, France. When he was 11, his family moved to Paris, where he would study at the arts school. He failed the prestigious Prix de Rome competition at the six times. Couture finally did win the prize in 1837, in 1840, he began exhibiting historical and genre pictures at the Paris Salon, earning several medals for his works, in particular for his masterpiece, Romans During the Decadence. Shortly after this success, Couture opened an independent atelier meant to challenge the École des Beaux-Arts by turning out the best new history painters, coutures innovative technique gained much attention, and he received Government and Church commissions for murals during the late 1840s through the 1850s. He never completed the first two commissions, and the third met with mixed criticism. Upset by the reception of his murals, in 1860 he left Paris, for a time returning to his hometown of Senlis. In 1867, he thumbed his nose at the establishment by publishing a book on his own ideas. It was also translated to Conversations on Art Methods in 1879, asked by a publisher to write an autobiography, Couture responded, Biography is the exaltation of personality—and personality is the scourge of our time. In 1879, he died at Villiers-le-Bel, Val-dOise, and was interred in Père Lachaise Cemetery, romanticism and The School of Nature, Nineteenth-century drawings and paintings from the Karen B. Cohen collection. New York, The Metropolitan Museum of Art, media related to Thomas Couture at Wikimedia Commons Thomas Couture at Find a Grave Article on Thomas Couture
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Hans Makart
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Makart was the son of a chamberlain at the Mirabell Palace, born in the former residence of the prince-archbishops of Salzburg. Initially, he received his training in painting at the Vienna Academy between 1850 and 1851 from Johann Fischbach, Makart, who was a poor draughtsman, but who had a passionate and sensual love of color, was impatient to escape the routine of art school drawing. For his fortune, he was found by his instructors to be devoid of all talent and he went to Munich, and after two years of independent study attracted the attention of Karl Theodor von Piloty, under whose guidance, between 1861 and 1865 he developed his painting style. During these years, Makart also travelled to London, Paris, the first picture he painted under Piloty, Lavoisier in Prison, though it was considered timid and conventional, attracted attention by its sense of color. In his next work, The Knight and the Water Nymphs and his fame became established in the next year, with two works, Modern Amoretti and The Plague in Florence. His painting Romeo and Juliet was soon bought by the Austrian emperor for the Vienna Museum. The prince Von Hohenlohe provided Makart with an old foundry at the Gusshausstraße 25 to use as a studio, eventually his studio looked like a salon and became a social meeting point in Vienna. Cosima Wagner described it as a wonder of decorative beauty, a sublime lumber-room and his luxurious studio served as a model for a great many upper middle-class living rooms. The opulent, semi-public spaces of the Makart atelier were the scene of a rendezvous between the artist and his public. In this way, an artist like Makart lived out the image that high society had created of him. He not only practised painting, but was also a designer, costume designer, furniture designer, and decorator. His work engendered the term Makartstil, or Makart style, which characterized the era. This became known as the Makart-parade, and had given the people of Vienna the chance to dress up in historical costumes, at the head of the parade was a float for artists, led by Makart on a white horse. His festivals became an institution in Vienna which lasted up until the 1960s, in the same year as the first parade he became a Professor at the Vienna Academy. In the United States, the painting fell under the proscription of Anthony Comstock, the American public desired at once to see what Comstock was persecuting, so they could tell whether he was acting correctly or in error. In 1882, emperor Franz Josef ordered the building of the Villa Hermes at Lainz for his empress, Makart designed for him a dreamworld that still exists at the Villa Hermes as a large painting. Unfortunately his design was never executed after his death in 1884. His collection of antiques and art consisted of 1083 pieces and was put up for auction by art-dealer H. O, salzburgs Makart Square, or Makartplatz, was named after the painter
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L'art pompier
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Lart pompier, literally Fireman Art, is a derisive late-nineteenth-century French term for large official academic art paintings of the time, especially historical or allegorical ones. It also suggests half-puns in French with Pompéin, and pompeux, Pompier art was seen by those who used the term as the epitome of the values of the bourgeoisie, and as insincere and overblown. The Manifeste Pompier by Louis-Marie Lecharny, was published in Paris in 1990, william-Adolphe Bouguereau, Paul-Jacques-Aimé Baudry, Alfred Agache, Alexandre Cabanel and Thomas Couture are among the classic Pompier artists. Artistes pompiers, French academic art in the 19th century, New York, article on Peut-on parler d’une peinture pompier. by Jacques Thuillier, www. dezenovevinte. net
15.
Historicism (art)
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Historicism or also Historism comprises artistic styles that draw their inspiration from recreating historic styles or imitating the work of historic artisans. This is especially prevalent in architecture, such as revival architecture, through combination of different styles or implementation of new elements, historicism can create completely different aesthetics than former styles. Thus it offers a variety of possible designs. The change is related to the rise of the bourgeoisie during. The Arts and Crafts movement managed to combine a looser vernacular historicism with elements of Art Nouveau, influences of historicism remained strong even until the 1950s in many countries
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Florence
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Florence is the capital city of the Italian region of Tuscany and of the Metropolitan City of Florence. It is the most populous city in Tuscany, with 383,083 inhabitants, Florence was a centre of medieval European trade and finance and one of the wealthiest cities of the time. It is considered the birthplace of the Renaissance, and has called the Athens of the Middle Ages. A turbulent political history includes periods of rule by the powerful Medici family, from 1865 to 1871 the city was the capital of the recently established Kingdom of Italy. The Historic Centre of Florence attracts 13 million tourists each year and it was declared a World Heritage Site by UNESCO in 1982. The city is noted for its culture, Renaissance art and architecture, the city also contains numerous museums and art galleries, such as the Uffizi Gallery and the Palazzo Pitti, and still exerts an influence in the fields of art, culture and politics. Due to Florences artistic and architectural heritage, it has been ranked by Forbes as one of the most beautiful cities in the world, in 2008, the city had the 17th highest average income in Italy. Florence originated as a Roman city, and later, after a period as a flourishing trading and banking medieval commune. According to the Encyclopædia Britannica, it was politically, economically, and culturally one of the most important cities in Europe, the language spoken in the city during the 14th century was, and still is, accepted as the Italian language. Starting from the late Middle Ages, Florentine money—in the form of the gold florin—financed the development of all over Europe, from Britain to Bruges, to Lyon. Florentine bankers financed the English kings during the Hundred Years War and they similarly financed the papacy, including the construction of their provisional capital of Avignon and, after their return to Rome, the reconstruction and Renaissance embellishment of Rome. Florence was home to the Medici, one of European historys most important noble families, Lorenzo de Medici was considered a political and cultural mastermind of Italy in the late 15th century. Two members of the family were popes in the early 16th century, Leo X, catherine de Medici married king Henry II of France and, after his death in 1559, reigned as regent in France. Marie de Medici married Henry IV of France and gave birth to the future king Louis XIII, the Medici reigned as Grand Dukes of Tuscany, starting with Cosimo I de Medici in 1569 and ending with the death of Gian Gastone de Medici in 1737. The Etruscans initially formed in 200 BC the small settlement of Fiesole and it was built in the style of an army camp with the main streets, the cardo and the decumanus, intersecting at the present Piazza della Repubblica. Situated along the Via Cassia, the route between Rome and the north, and within the fertile valley of the Arno, the settlement quickly became an important commercial centre. Peace returned under Lombard rule in the 6th century, Florence was conquered by Charlemagne in 774 and became part of the Duchy of Tuscany, with Lucca as capital. The population began to again and commerce prospered
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Cosimo I de' Medici, Grand Duke of Tuscany
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Cosimo I de Medici was the second Duke of Florence from 1537 until 1569, when he became the first Grand Duke of Tuscany. Cosimo was born in Florence, on 12 June 1519, the son of the famous condottiere Giovanni dalle Bande Nere from Forlì and he was the grandson of Caterina Sforza, the Countess of Forlì and Lady of Imola. Cosimo came to power at 17, when the 26-year-old Duke, Alessandro de Medici, was assassinated in 1537, Cosimo was from a different branch of the family, and so far had lived in Mugello, and was almost unknown in Florence. However, many of the men in the city favoured him. Several hoped to rule through him, thereby enriching themselves at the states expense, however, as Benedetto Varchi famously put it The innkeepers reckoning was different from the gluttons. Cosimo proved strong-willed, astute and ambitious, and soon rejected the clause he had signed, when the Florentine exiles heard of the death of Alessandro, they marshalled their forces with support from France and from disgruntled neighbors of Florence. During this time, Cosimo had a daughter, Bia. Toward the end of July 1537, the exiles marched into Tuscany under the leadership of Bernardo Salviati and Piero Strozzi. When Cosimo heard of their approach, he sent his best troops under Alessandro Vitelli to engage the enemy, which they did at Montemurlo, after defeating the exiles army, Vitelli stormed the fortress, where Strozzi and a few of his companions had retreated to safety. It fell after only a few hours, and Cosimo celebrated his first victory, the prominent prisoners were subsequently beheaded on the Piazza or in the Bargello. Filippo Strozzis body was found with a sword next to it and a note quoting Virgil. In June 1537 Cosimo had sent Bernardo Antonio de Medici to Charles V to gain his recognition as head of the Florentine state and that recognition came in June 1537, in exchange for help against France in the course of the Italian Wars. With this move Cosimo firmly restored the power of the Medici, the help granted to Charles V allowed him to free Tuscany from the Imperial garrisons, and to increase as much as possible its independence from the overwhelming Spanish influence in Italy. With the support of the Emperor, he defeated the Sienese at the Battle of Marciano, despite the inhabitants desperate resistance, on 17 April 1555, after a 15-month siege, the city fell, its population diminished from forty thousand to eight thousand. In 1559 Montalcino, the last redoubt of Sienese independence, was annexed to Cosimos territories, in 1569, Pope Pius V elevated him to the rank of Grand Duke of Tuscany. In the last 10 years of his reign, struck by the death of two of his sons by malaria, Cosimo gave up the rule to his son and successor Francesco I de Medici. He retreated to live in his villa, Villa di Castello, Cosimo was an authoritarian ruler and secured his position by employing a guard of Swiss mercenaries. In 1548 he managed to have his relative Lorenzino, the last Medici claimant to Florence, Cosimo also was an active builder of military structures, in an attempt to save his state from the frequent passage of foreign armies
18.
Giorgio Vasari
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Vasari was born in Arezzo, Tuscany. Recommended at an age by his cousin Luca Signorelli, he became a pupil of Guglielmo da Marsiglia. He was befriended by Michelangelo whose painting style would influence his own, in 1529, he visited Rome where he studied the works of Raphael and other artists of the Roman High Renaissance. Vasaris own Mannerist paintings were admired in his lifetime than afterwards. In 1547 he completed the hall of the chancery in Palazzo della Cancelleria in Rome with frescoes that received the name Sala dei Cento Giorni and he was consistently employed by members of the Medici family in Florence and Rome, and worked in Naples, Arezzo and other places. He also helped to organize the decoration of the Studiolo, now reassembled in the Palazzo Vecchio, aside from his career as a painter, Vasari was also successful as an architect. In Florence, Vasari also built the long passage, now called Vasari Corridor, the enclosed corridor passes alongside the River Arno on an arcade, crosses the Ponte Vecchio and winds around the exterior of several buildings. He also renovated the medieval churches of Santa Maria Novella and Santa Croce, at both he removed the original rood screen and loft, and remodelled the retro-choirs in the Mannerist taste of his time. In Santa Croce, he was responsible for the painting of The Adoration of the Magi which was commissioned by Pope Pius V in 1566 and it was recently restored, before being put on exhibition in 2011 in Rome and in Naples. Eventually it is planned to return it to the church of Santa Croce in Bosco Marengo, in 1562 Vasari built the octagonal dome on the Basilica of Our Lady of Humility in Pistoia, an important example of high Renaissance architecture. In Rome, Vasari worked with Giacomo Barozzi da Vignola and Bartolomeo Ammanati at Pope Julius IIIs Villa Giulia, the Lives also included a novel treatise on the technical methods employed in the arts. The book was rewritten and enlarged in 1568, with the addition of woodcut portraits of artists. The work has a consistent and notorious bias in favour of Florentines, and tends to attribute to them all the developments in Renaissance art – for example, Venetian art in particular, is systematically ignored in the first edition. Between the first and second editions, Vasari visited Venice and while the edition gave more attention to Venetian art. Vasaris biographies are interspersed with amusing gossip, with a few exceptions, however, Vasaris aesthetic judgement was acute and unbiased. He did not research archives for exact dates, as art historians do, and naturally his biographies are most dependable for the painters of his own generation. Modern criticism – with new materials opened up by research – has corrected many of his traditional dates and attributions. Vasari includes a sketch of his own biography at the end of the Lives, according to the historian Richard Goldthwaite, Vasari was one of the earliest authors to use the term competition in its economic sense
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Accademia delle Arti del Disegno
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The Accademia delle Arti del Disegno, or Academy of the Arts of Drawing, is an academy of artists in Florence, Italy. The Accademia e Compagnia delle Arti del Disegno, or academy and company of the arts of drawing, was founded on 13 January 1563 by Cosimo I de Medici and it was later called the Accademia delle Arti del Disegno. Artists including Michelangelo Buonarroti, Lazzaro Donati, Francesco da Sangallo, Agnolo Bronzino, Benvenuto Cellini, Giorgio Vasari, Bartolomeo Ammannati, most members of the Accademia were male, Artemisia Gentileschi was the first woman to be admitted. Its declared purposes are the promotion and diffusion of the arts, and it organises conferences, concerts, book presentations and exhibitions, and elects noted artists from all over the world to honorary membership. The first Accademia delle Arti del Disegno was founded by Cosimo I de Medici on 13 January 1563 and it was later called the Accademia delle Arti del Disegno. At first, the Academy met in the cloisters of the Santissima Annunziata, in 1784 Pietro Leopoldo, Grand Duke of Tuscany, combined all the schools of drawing in Florence into one institution, the new Accademia di Belle Arti di Firenze, or academy of fine arts. The Accademia delle Arti del Disegno was thus suppressed and transformed in the collegio dei professori dellAccademia, sculpture and painting became separate classes under a new statute of 1953. Since 1971 the Accademia has occupied Palazzo dellArte dei Beccai, in via Orsanmichele, the current statute of the organisation was published by decree of the President of the Republic of Italy, and is dated 17 May 1978. Since the statute of 1978 the Accademia delle Arti del Disegno has been divided into five classes, painting, sculpture, architecture, history of art, there are four classes of membership, emeritus, ordinary, correspondent and honorary. The Accademia awards the title of Accademico dOnore, or honorary member, to those it considers notable in culture and it lists 138 such honorary members. Past Accademici dOnore include Giulio Andreotti, Alberto Ronchey, the Nobel Prize winner Rita Levi-Montalcini, notizie intorno alla Regia Accademia delle Arti del Disegno di Firenze. LAccademia di Belle Arti di Firenze, lAccademia medicea del Disegno a Firenze nel Cinquecento. Cenni storici sullAccademia delle Arti del Disegno), paola Barocchi, I Fondatori dellAccademia del Disegno. Gli statuti dellAccademia delle Arti del Disegno, the Florentine Academy and the Early Modern State. Enrico Sartoni, Da Michelangelo alla Contemporaneità, storia di un primato mondiale 450 anni dellAccademia delle Arti del Disegno
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Anatomy
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Anatomy is the branch of biology concerned with the study of the structure of organisms and their parts. Anatomy is inherently tied to embryology, comparative anatomy, evolutionary biology, Human anatomy is one of the basic essential sciences of medicine. The discipline of anatomy is divided into macroscopic and microscopic anatomy, macroscopic anatomy, or gross anatomy, is the examination of an animals body parts using unaided eyesight. Gross anatomy also includes the branch of superficial anatomy, microscopic anatomy involves the use of optical instruments in the study of the tissues of various structures, known as histology, and also in the study of cells. The history of anatomy is characterized by an understanding of the functions of the organs. Anatomy and physiology, which study the structure and function of organisms and their parts, make a pair of related disciplines. Derived from the Greek ἀνατομή anatomē dissection, anatomy is the study of the structure of organisms including their systems, organs. It includes the appearance and position of the parts, the materials from which they are composed, their locations. Anatomy is quite distinct from physiology and biochemistry, which deal respectively with the functions of those parts, the discipline of anatomy can be subdivided into a number of branches including gross or macroscopic anatomy and microscopic anatomy. Gross anatomy is the study of large enough to be seen with the naked eye, and also includes superficial anatomy or surface anatomy. Microscopic anatomy is the study of structures on a scale, including histology. Anatomy can be studied using both invasive and non-invasive methods with the goal of obtaining information about the structure and organization of organs, angiography using X-rays or magnetic resonance angiography are methods to visualize blood vessels. The term anatomy is commonly taken to refer to human anatomy, however, substantially the same structures and tissues are found throughout the rest of the animal kingdom and the term also includes the anatomy of other animals. The term zootomy is also used to specifically refer to animals. The structure and tissues of plants are of a dissimilar nature, the kingdom Animalia or metazoa, contains multicellular organisms that are heterotrophic and motile. Most animals have bodies differentiated into separate tissues and these animals are known as eumetazoans. They have a digestive chamber, with one or two openings, the gametes are produced in multicellular sex organs, and the zygotes include a blastula stage in their embryonic development. Metazoans do not include the sponges, which have undifferentiated cells, unlike plant cells, animal cells have neither a cell wall nor chloroplasts
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Geometry
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Geometry is a branch of mathematics concerned with questions of shape, size, relative position of figures, and the properties of space. A mathematician who works in the field of geometry is called a geometer, Geometry arose independently in a number of early cultures as a practical way for dealing with lengths, areas, and volumes. Geometry began to see elements of mathematical science emerging in the West as early as the 6th century BC. By the 3rd century BC, geometry was put into a form by Euclid, whose treatment, Euclids Elements. Geometry arose independently in India, with texts providing rules for geometric constructions appearing as early as the 3rd century BC, islamic scientists preserved Greek ideas and expanded on them during the Middle Ages. By the early 17th century, geometry had been put on a solid footing by mathematicians such as René Descartes. Since then, and into modern times, geometry has expanded into non-Euclidean geometry and manifolds, while geometry has evolved significantly throughout the years, there are some general concepts that are more or less fundamental to geometry. These include the concepts of points, lines, planes, surfaces, angles, contemporary geometry has many subfields, Euclidean geometry is geometry in its classical sense. The mandatory educational curriculum of the majority of nations includes the study of points, lines, planes, angles, triangles, congruence, similarity, solid figures, circles, Euclidean geometry also has applications in computer science, crystallography, and various branches of modern mathematics. Differential geometry uses techniques of calculus and linear algebra to problems in geometry. It has applications in physics, including in general relativity, topology is the field concerned with the properties of geometric objects that are unchanged by continuous mappings. In practice, this often means dealing with large-scale properties of spaces, convex geometry investigates convex shapes in the Euclidean space and its more abstract analogues, often using techniques of real analysis. It has close connections to convex analysis, optimization and functional analysis, algebraic geometry studies geometry through the use of multivariate polynomials and other algebraic techniques. It has applications in areas, including cryptography and string theory. Discrete geometry is concerned mainly with questions of relative position of simple objects, such as points. It shares many methods and principles with combinatorics, Geometry has applications to many fields, including art, architecture, physics, as well as to other branches of mathematics. The earliest recorded beginnings of geometry can be traced to ancient Mesopotamia, the earliest known texts on geometry are the Egyptian Rhind Papyrus and Moscow Papyrus, the Babylonian clay tablets such as Plimpton 322. For example, the Moscow Papyrus gives a formula for calculating the volume of a truncated pyramid, later clay tablets demonstrate that Babylonian astronomers implemented trapezoid procedures for computing Jupiters position and motion within time-velocity space
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Accademia di San Luca
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Other founders included Girolamo Muziano and Pietro Olivieri. The Academy was named after Saint Luke the evangelist who, legend has it, made a portrait of the Virgin Mary, designed by the Baroque architect, Pietro da Cortona, its main facade overlooks the Forum. Included among its members, was the famous painter Melozzo da Forlì. In 1605, Pope Paul V granted the Academy the right to pardon a condemned man on the feast of St. Luke. In the 1620s, Urban VIII extended its rights to decide who was considered an artist in Rome and it came under the patronage of his nephew, in 1633, Urban VIII gave it the right to tax all artists as well as art-dealers, and monopolize all public commissions. These latter measures raised strong opposition and apparently were poorly enforced, over the early years, the papal authorities exerted a large degree of control over the leadership of the institution. Some modern critics have stated with the purpose of giving artists a higher education. The prìncipi of the institution have included some of the pre-eminent painters of the 17th century, including Domenichino, Bernini, Cortona, however, many prominent artists never joined or were admitted to the academy. Artistic issues debated within the Academy included the Cortona-Sacchi controversy about the number of figures in a painting, disdain was espressed by many academicians for the Bamboccianti. Giovanni Bellori gave famous lectures on painting in the Academy, in the early 18th century, the painter Marco Benefial was inducted, and then expelled for criticizing the academy as an insider. The Academy is still active, the Accademia Nazionale di San Luca is its modern descendant, from the very beginning, the statutes of the Academy directed that each candidate-academician was to donate a work of his art in perpetual memory and, later, a portrait. Prominent artists to become Principi of the academy over the first 200 years include, Claude Lorrain was a member, the Academy can also boast modern members, including sculptors Ernesto Biondi and Piccirilli Brothers. Accademia Nazionale di San Luca Official site Galleria Nazionale di San Luca Accademia San Luca The History of the Accademia di San Luca, 1590–1635, Documents from the Archivio di Stato di Roma
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St. Luke
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Luke the Evangelist is one of the Four Evangelists—the four traditionally ascribed authors of the canonical Gospels. The New Testament mentions Luke briefly a few times, and the Pauline epistle to the Colossians refers to him as a doctor, Christians since the faiths early years have regarded him as a saint. He is believed to have been a martyr, reportedly as having been hanged in an olive tree, though some believe otherwise. Many scholars believe that Luke was a Greek physician who lived in the Greek city of Antioch in Ancient Syria, though other scholars. Bart Koet for instance considered it as widely accepted that the theology of Luke–Acts points to a gentile Christian writing for a gentile audience, gregory Sterling though, claims that he was either a Hellenistic Jew or a god-fearer. His earliest notice is in Pauls Epistle to Philemon—Philemon 1,24 and he is also mentioned in Colossians 4,14 and 2Timothy 4,11, two works commonly ascribed to Paul. He had become a disciple of the apostle Paul and later followed Paul until his martyrdom, having served the Lord continuously, unmarried and without children, filled with the Holy Spirit he died at the age of 84 years. If one accepts that Luke was in fact the author of the Gospel bearing his name and also the Acts of the Apostles, the we section of Acts continues until the group leaves Philippi, when his writing goes back to the third person. This change happens again when the returns to Philippi. There are three we sections in Acts, all following this rule, Luke never stated, however, that he lived in Troas, and this is the only evidence that he did. The composition of the writings, as well as the range of vocabulary used, a quote in the Letter of Paul to the Colossians differentiates between Luke and other colleagues of the circumcision. 10 My fellow prisoner Aristarchus sends you his greetings, as does Mark,11 Jesus, who is called Justus, also sends greetings. These are the only Jews among my co-workers for the kingdom of God,14 Our dear friend Luke, the doctor, and Demas send greetings. This comment has traditionally caused commentators to conclude that Luke was a Gentile, if this were true, it would make Luke the only writer of the New Testament who can clearly be identified as not being Jewish. However, that is not the only possibility, although Luke is considered likely to be a Gentile Christian, some scholars believe him to be a Hellenized Jew. The phrase could just as easily be used to differentiate between those Christians who strictly observed the rituals of Judaism and those who did not. Lukes presence in Rome with the Apostle Paul near the end of Pauls life was attested by 2 Timothy 4,11, Only Luke is with me. In the last chapter of the Book of Acts, widely attributed to Luke, we find several accounts in the first person also affirming Lukes presence in Rome including Acts 28,16, And when we came to Rome
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Rome
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Rome is a special comune and the capital of Italy. Rome also serves as the capital of the Lazio region, with 2,873,598 residents in 1,285 km2, it is also the countrys largest and most populated comune and fourth-most populous city in the European Union by population within city limits. It is the center of the Metropolitan City of Rome, which has a population of 4.3 million residents, the city is located in the central-western portion of the Italian Peninsula, within Lazio, along the shores of the Tiber. Romes history spans more than 2,500 years, while Roman mythology dates the founding of Rome at only around 753 BC, the site has been inhabited for much longer, making it one of the oldest continuously occupied sites in Europe. The citys early population originated from a mix of Latins, Etruscans and it was first called The Eternal City by the Roman poet Tibullus in the 1st century BC, and the expression was also taken up by Ovid, Virgil, and Livy. Rome is also called the Caput Mundi, due to that, Rome became first one of the major centres of the Italian Renaissance, and then the birthplace of both the Baroque style and Neoclassicism. Famous artists, painters, sculptors and architects made Rome the centre of their activity, in 1871 Rome became the capital of the Kingdom of Italy, and in 1946 that of the Italian Republic. Rome has the status of a global city, Rome ranked in 2014 as the 14th-most-visited city in the world, 3rd most visited in the European Union, and the most popular tourist attraction in Italy. Its historic centre is listed by UNESCO as a World Heritage Site, monuments and museums such as the Vatican Museums and the Colosseum are among the worlds most visited tourist destinations with both locations receiving millions of tourists a year. Rome hosted the 1960 Summer Olympics and is the seat of United Nations Food, however, it is a possibility that the name Romulus was actually derived from Rome itself. As early as the 4th century, there have been alternate theories proposed on the origin of the name Roma. There is archaeological evidence of occupation of the Rome area from approximately 14,000 years ago. Evidence of stone tools, pottery and stone weapons attest to about 10,000 years of human presence, several excavations support the view that Rome grew from pastoral settlements on the Palatine Hill built above the area of the future Roman Forum. Between the end of the age and the beginning of the Iron age. However, none of them had yet an urban quality, nowadays, there is a wide consensus that the city was gradually born through the aggregation of several villages around the largest one, placed above the Palatine. All these happenings, which according to the excavations took place more or less around the mid of the 8th century BC. Despite recent excavations at the Palatine hill, the view that Rome has been indeed founded with an act of will as the legend suggests in the middle of the 8th century BC remains a fringe hypothesis. Traditional stories handed down by the ancient Romans themselves explain the earliest history of their city in terms of legend and myth
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Aesthetics
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Aesthetics is a branch of philosophy that explores the nature of art, beauty, and taste, with the creation and appreciation of beauty. It is more defined as the study of sensory or sensori-emotional values, sometimes called judgements of sentiment. More broadly, scholars in the field define aesthetics as critical reflection on art, in modern English, the term aesthetic can also refer to a set of principles underlying the works of a particular art movement or theory, one speaks, for example, of the Cubist aesthetic. The word aesthetic is derived from the Greek αἰσθητικός, which in turn was derived from αἰσθάνομαι, for some, aesthetics is considered a synonym for the philosophy of art since Hegel, while others insist that there is a significant distinction between these closely related fields. In practice, aesthetic judgement refers to the sensory contemplation or appreciation of an object, philosophical aesthetics has not only to speak about art and to produce judgments about art works, but has also to give a definition of what art is. Art is an entity for philosophy, because art deals with the senses. Hence, there are two different conceptions of art in aesthetics, art as knowledge or art as action, any aesthetic doctrines that guided the production and interpretation of prehistoric art are mostly unknown. Western aesthetics usually refers to Greek philosophers as the earliest source of aesthetic considerations. Plato believed in beauty as a form in which beautiful objects partake and he felt that beautiful objects incorporated proportion, harmony, and unity among their parts. Similarly, in the Metaphysics, Aristotle found that the elements of beauty were order, symmetry. From the late 17th to the early 20th century Western aesthetics underwent a revolution into what is often called modernism. German and British thinkers emphasized beauty as the key component of art and of the aesthetic experience, and saw art as necessarily aiming at absolute beauty. For Alexander Gottlieb Baumgarten aesthetics is the science of the experiences, a younger sister of logic. For Immanuel Kant the aesthetic experience of beauty is a judgment of a subjective but similar human truth, however, beauty cannot be reduced to any more basic set of features. For Friedrich Schiller aesthetic appreciation of beauty is the most perfect reconciliation of the sensual and rational parts of human nature, for Friedrich Wilhelm Joseph Schelling, the philosophy of art is the organon of philosophy concerning the relation between man and nature. So aesthetics began now to be the name for the philosophy of art, Friedrich von Schlegel, August Wilhelm Schlegel, Friedrich Schleiermacher and Georg Wilhelm Friedrich Hegel also gave lectures on aesthetics as philosophy of art after 1800. For Hegel, all culture is a matter of absolute spirit coming to be manifest to itself, stage by stage, Art is the first stage in which the absolute spirit is manifest immediately to sense-perception, and is thus an objective rather than subjective revelation of beauty. It is thus for Schopenhauer one way to fight the suffering, the British were largely divided into intuitionist and analytic camps
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Annibale Carracci
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Annibale Carracci was an Italian painter, active in Bologna and later in Rome. Painters working under Annibale at the gallery of the Palazzo Farnese would be influential in Roman painting for decades. Annibale Carracci was born in Bologna, and in all likelihood was first apprenticed within his family, in 1582, Annibale, his brother Agostino and his cousin Ludovico Carracci opened a painters studio, initially called by some the Academy of the Desiderosi and subsequently the Incamminati. This eclecticism was to become the defining trait of the artists of the Baroque Emilian or Bolognese School, in many early Bolognese works by the Carraccis, it is difficult to distinguish the individual contributions made by each. For example, the frescoes on the story of Jason for Palazzo Fava in Bologna are signed Carracci, in 1585, Annibale completed an altarpiece of the Baptism of Christ for the church of Santi Gregorio e Siro in Bologna. In 1587, he painted the Assumption for the church of San Rocco in Reggio Emilia, in 1587–88, Annibale is known to have had travelled to Parma and then Venice, where he joined his brother Agostino. From 1589 to 1592, the three Carracci brothers completed the frescoes on the Founding of Rome for Palazzo Magnani in Bologna, by 1593, Annibale had completed an altarpiece, Virgin on the throne with St John and St Catherine, in collaboration with Lucio Massari. His Resurrection of Christ also dates from 1593, in 1592, he painted an Assumption for the Bonasoni chapel in San Francesco. During 1593-94, all three Carraccis were working on frescoes in Palazzo Sampieri in Bologna and his work would later inspire the untrammelled stream of Baroque illusionism and energy that would emerge in the grand frescoes of Cortona, Lanfranco, and in later decades Andrea Pozzo and Gaulli. Throughout the 17th and 18th centuries, the Farnese Ceiling was considered the masterpiece of fresco painting for its age. On the other hand, while admitting Caravaggios talents as a painter, Bellori deplored his over-naturalistic style, if not his turbulent morals and he thus viewed the Caravaggisti styles with the same gloomy dismay. Painters were urged to depict the Platonic ideal of beauty, not Roman street-walkers, yet Carracci and Caravaggio patrons and pupils did not all fall into irreconcilable camps. Contemporary patrons, such as Marquess Vincenzo Giustiniani, found both applied showed excellence in maniera and modeling, in our century, observers have warmed to the rebel myth of Caravaggio, and often ignore the profound influence on art that Carracci had. Caravaggio almost never worked in fresco, regarded as the test of a great painters mettle, on the other hand, Carraccis best works are in fresco. Thus the somber canvases of Caravaggio, with benighted backgrounds, are suited to the contemplative altars, wittkower was surprised that a Farnese cardinal surrounded himself with frescoes of libidinous themes, indicative of a considerable relaxation of counter-reformatory morality. This thematic choice suggests Carracci may have been more rebellious relative to the often-solemn religious passion of Caravaggios canvases, wittkower states Carraccis frescoes convey the impression of a tremendous joie de vivre, a new blossoming of vitality and of an energy long repressed. It is instructive to compare Carraccis Assumption with Caravaggios Death of the Virgin, among early contemporaries, Carracci would have been an innovator. He re-enlivened Michelangelos visual fresco vocabulary, and posited a muscular and vivaciously brilliant pictorial landscape, while Michelangelo could bend and contort the body into all the possible perspectives, Carracci in the Farnese frescoes had shown how it could dance
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Bologna
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Bologna is the largest city of the Emilia-Romagna Region in Northern Italy. It is the seventh most populous city in Italy, located in the heart of an area of about one million. The first settlements back to at least 1000 BC. The city has been a centre, first under the Etruscans. Home to the oldest university in the world, University of Bologna, founded in 1088, Bologna is also an important transportation crossroad for the roads and trains of Northern Italy, where many important mechanical, electronic and nutritional industries have their headquarters. According to the most recent data gathered by the European Regional Economic Growth Index of 2009, Bologna is the first Italian city, Bologna is home to numerous prestigious cultural, economic and political institutions as well as one of the most impressive trade fair districts in Europe. In 2000 it was declared European capital of culture and in 2006, the city of Bologna was selected to participate in the Universal Exposition of Shanghai 2010 together with 45 other cities from around the world. Bologna is also one of the wealthiest cities in Italy, often ranking as one of the top cities in terms of quality of life in the country, after a long decline, Bologna was reborn in the 5th century under Bishop Petronius. According to legend, St. Petronius built the church of S. Stefano. After the fall of Rome, Bologna was a stronghold of the Exarchate of Ravenna in the Po plain. In 728, the city was captured by the Lombard king Liutprand, the Germanic conquerors formed a district called addizione longobarda near the complex of S. Stefano. Charlemagne stayed in this district in 786, traditionally said to be founded in 1088, the University of Bologna is widely considered to be the first university. The university originated as a centre of study of medieval Roman law under major glossators. It numbered Dante, Boccaccio and Petrarca among its students, the medical school is especially famous. In the 12th century, the families engaged in continual internecine fighting. Troops of Pope Julius II besieged Bologna and sacked the artistic treasures of his palace, in 1530, in front of Saint Petronio Church, Charles V was crowned Holy Roman Emperor by Pope Clement VII. Then a plague at the end of the 16th century reduced the population from 72,000 to 59,000, the population later recovered to a stable 60, 000–65,000. However, there was also great progress during this era, in 1564, the Piazza del Nettuno and the Palazzo dei Banchi were built, along with the Archiginnasio, the centre of the University
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France
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France, officially the French Republic, is a country with territory in western Europe and several overseas regions and territories. The European, or metropolitan, area of France extends from the Mediterranean Sea to the English Channel and the North Sea, Overseas France include French Guiana on the South American continent and several island territories in the Atlantic, Pacific and Indian oceans. France spans 643,801 square kilometres and had a population of almost 67 million people as of January 2017. It is a unitary republic with the capital in Paris. Other major urban centres include Marseille, Lyon, Lille, Nice, Toulouse, during the Iron Age, what is now metropolitan France was inhabited by the Gauls, a Celtic people. The area was annexed in 51 BC by Rome, which held Gaul until 486, France emerged as a major European power in the Late Middle Ages, with its victory in the Hundred Years War strengthening state-building and political centralisation. During the Renaissance, French culture flourished and a colonial empire was established. The 16th century was dominated by civil wars between Catholics and Protestants. France became Europes dominant cultural, political, and military power under Louis XIV, in the 19th century Napoleon took power and established the First French Empire, whose subsequent Napoleonic Wars shaped the course of continental Europe. Following the collapse of the Empire, France endured a succession of governments culminating with the establishment of the French Third Republic in 1870. Following liberation in 1944, a Fourth Republic was established and later dissolved in the course of the Algerian War, the Fifth Republic, led by Charles de Gaulle, was formed in 1958 and remains to this day. Algeria and nearly all the colonies became independent in the 1960s with minimal controversy and typically retained close economic. France has long been a centre of art, science. It hosts Europes fourth-largest number of cultural UNESCO World Heritage Sites and receives around 83 million foreign tourists annually, France is a developed country with the worlds sixth-largest economy by nominal GDP and ninth-largest by purchasing power parity. In terms of household wealth, it ranks fourth in the world. France performs well in international rankings of education, health care, life expectancy, France remains a great power in the world, being one of the five permanent members of the United Nations Security Council with the power to veto and an official nuclear-weapon state. It is a member state of the European Union and the Eurozone. It is also a member of the Group of 7, North Atlantic Treaty Organization, Organisation for Economic Co-operation and Development, the World Trade Organization, originally applied to the whole Frankish Empire, the name France comes from the Latin Francia, or country of the Franks
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Louis XIV of France
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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
30.
Peter Paul Rubens
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Sir Peter Paul Rubens was a Flemish/Netherlandish draughtsman and painter. He is widely considered as the most notable artist of Flemish Baroque art school, the catalogue of his works by Michael Jaffé lists 1,403 pieces, excluding numerous copies made in his workshop. His commissioned works were mostly history paintings, which included religious and mythological subjects and he painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house and he also oversaw the ephemeral decorations of the royal entry into Antwerp by the Cardinal-Infante Ferdinand in 1635. His drawings are mostly extremely forceful but not overly detailed and he also made great use of oil sketches as preparatory studies. For altarpieces he painted on slate to reduce reflection problems. Rubens was born in the city of Siegen to Jan Rubens and he was named in honour of Saint-Peter and Paul, because he was born on their solemnety. His father, a Calvinist, and mother fled Antwerp for Cologne in 1568, after increased religious turmoil and persecution of Protestants during the rule of the Spanish Netherlands by the Duke of Alba. Jan Rubens became the adviser of Anna of Saxony, the second wife of William I of Orange. Following Jan Rubens imprisonment for the affair, Peter Paul Rubens was born in 1577, the family returned to Cologne the next year. In 1589, two years after his fathers death, Rubens moved with his mother Maria Pypelincks to Antwerp, religion figured prominently in much of his work and Rubens later became one of the leading voices of the Catholic Counter-Reformation style of painting. In Antwerp, Rubens received a Renaissance humanist education, studying Latin, by fourteen he began his artistic apprenticeship with Tobias Verhaeght. Subsequently, he studied under two of the leading painters of the time, the late Mannerist artists Adam van Noort. Much of his earliest training involved copying earlier works, such as woodcuts by Hans Holbein the Younger. Rubens completed his education in 1598, at time he entered the Guild of St. Luke as an independent master. In 1600 Rubens travelled to Italy and he stopped first in Venice, where he saw paintings by Titian, Veronese, and Tintoretto, before settling in Mantua at the court of Duke Vincenzo I Gonzaga. The colouring and compositions of Veronese and Tintoretto had an effect on Rubenss painting. With financial support from the Duke, Rubens travelled to Rome by way of Florence in 1601, there, he studied classical Greek and Roman art and copied works of the Italian masters
31.
Nicolas Poussin
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Nicolas Poussin was the leading painter of the classical French Baroque style, although he spent most of his working life in Rome. His work is characterized by clarity, logic, and order, until the 20th century he remained a major inspiration for such classically oriented artists as Jacques-Louis David, Jean-Auguste-Dominique Ingres and Paul Cézanne. He worked in Rome for a circle of leading collectors from there and elsewhere, most of his works are history paintings of religious or mythological subjects that very often have a large landscape element. Early sketches attracted the notice of Quentin Varin, a painter, whose pupil Poussin became. There he entered the studios of the Flemish painter Ferdinand Elle and then of Georges Lallemand and he found French art in a stage of transition, the old apprenticeship system was disturbed, and the academic training destined to supplant it was not yet established by Simon Vouet. In Paris, Poussin was impressed by Italian art he viewed in the royal collection and he attempted to travel to Rome, but after reaching Florence he was forced, perhaps by ill health, to return to Paris. In 1622 he met Giambattista Marino, the poet to Marie de Medici. Marino employed him on illustrations for an edition of Ovids Metamorphoses. These Marino drawings preserved at Windsor Castle are among the few identifiable works of Poussin executed before his arrival in Rome. Marino took him into his household, and in 1624 enabled Poussin to rejoin him at Rome, Poussin was thirty when he arrived in Rome in 1624. At first he lodged with Simon Vouet, through Marino, he had been introduced to Marcello Sacchetti who in turn introduced him to another of his early patrons, Cardinal Francesco Barberini. However, their return from Spain in 1626 stabilized Poussin’s position, with renewed patronage by the Barberini and their circle. He fell ill at this time and was taken into the house of his compatriot Jacques Dughet, where he was nursed by Dughet’s daughter, Anna Maria and his two brothers-in-law were artists and Gaspard Dughet later took Poussin’s surname. During the late 1620s and 1630s, he experimented and formulated his own style and he studied the Antique as well as works such as Titian’s Bacchanals at the Casino Ludovisi and the paintings of Domenichino and Guido Reni. Peter’s, and an ingenious architectural imagination was emerging in works by Borromini, at the time the papacy was Rome’s foremost patron of the arts. Poussin’s Martyrdom of St. Erasmus for St and his subsequent career depended on private patronage. Louis XIII conferred on him the title of First Painter in Ordinary, in 1642, disgusted by the intrigues of Simon Vouet, Fouquières and the architect Jacques Lemercier, Poussin withdrew to Rome. There, in 1648, he finished for de Chantelou the second series of the Seven Sacraments and this painting shows the philosopher discarding his last worldly possession, his cup, after watching a man drink water by cupping his hands
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Jean-Auguste-Dominique Ingres
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Jean-Auguste-Dominique Ingres was a French Neoclassical painter. A man profoundly respectful of the past, he assumed the role of a guardian of orthodoxy against the ascendant Romantic style represented by his nemesis. His exemplars, he explained, were the great masters which flourished in that century of glorious memory when Raphael set the eternal. I am thus a conservator of good doctrine, and not an innovator, Ingres was born in Montauban, Tarn-et-Garonne, France, the first of seven children of Jean-Marie-Joseph Ingres and his wife Anne Moulet. From his father the young Ingres received early encouragement and instruction in drawing and music, and his first known drawing, the deficiency in his schooling would always remain for him a source of insecurity. In 1791, Joseph Ingres took his son to Toulouse, where the young Jean-Auguste-Dominique was enrolled in the Académie Royale de Peinture, Sculpture et Architecture, there he studied under the sculptor Jean-Pierre Vigan, the landscape painter Jean Briant, and the neoclassical painter Guillaume-Joseph Roques. Roques veneration of Raphael was an influence on the young artist. Ingres won prizes in several disciplines, such as composition, figure and antique and his musical talent was developed under the tutelage of the violinist Lejeune, and from the ages of thirteen to sixteen he played second violin in the Orchestre du Capitole de Toulouse. Ingres followed his masters neoclassical example but revealed, according to David and his trip to Rome, however, was postponed until 1806, when the financially strained government finally appropriated the travel funds. Working in Paris alongside several other students of David in a provided by the state. He found inspiration in the works of Raphael, in Etruscan vase paintings, in 1802 he made his debut at the Salon with Portrait of a Woman. The following year brought a commission, when Ingres was one of five artists selected to paint full-length portraits of Napoleon Bonaparte as First Consul. These were to be distributed to the towns of Liège, Antwerp, Dunkerque, Brussels. In the summer of 1806 Ingres became engaged to Marie-Anne-Julie Forestier, although he had hoped to stay in Paris long enough to witness the opening of that years Salon, in which he was to display several works, he reluctantly left for Italy just days before the opening. Chaussard condemned Ingress style as gothic and asked, How, with so much talent, a line so flawless, the answer is that he wanted to do something singular, something extraordinary. M. Ingress intention is nothing less than to make art regress by four centuries, to carry us back to its infancy, Ingres stylistic eclecticism represented a new tendency in art. As art historian Marjorie Cohn has written, At the time, Artists and critics outdid each other in their attempts to identify, interpret, and exploit what they were just beginning to perceive as historical stylistic developments. From the beginning of his career, Ingres freely borrowed from earlier art, adopting the style appropriate to his subject
33.
England
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England is a country that is part of the United Kingdom. It shares land borders with Scotland to the north and Wales to the west, the Irish Sea lies northwest of England and the Celtic Sea lies to the southwest. England is separated from continental Europe by the North Sea to the east, the country covers five-eighths of the island of Great Britain in its centre and south, and includes over 100 smaller islands such as the Isles of Scilly, and the Isle of Wight. England became a state in the 10th century, and since the Age of Discovery. The Industrial Revolution began in 18th-century England, transforming its society into the worlds first industrialised nation, Englands terrain mostly comprises low hills and plains, especially in central and southern England. However, there are uplands in the north and in the southwest, the capital is London, which is the largest metropolitan area in both the United Kingdom and the European Union. In 1801, Great Britain was united with the Kingdom of Ireland through another Act of Union to become the United Kingdom of Great Britain and Ireland. In 1922 the Irish Free State seceded from the United Kingdom, leading to the latter being renamed the United Kingdom of Great Britain, the name England is derived from the Old English name Englaland, which means land of the Angles. The Angles were one of the Germanic tribes that settled in Great Britain during the Early Middle Ages, the Angles came from the Angeln peninsula in the Bay of Kiel area of the Baltic Sea. The earliest recorded use of the term, as Engla londe, is in the ninth century translation into Old English of Bedes Ecclesiastical History of the English People. According to the Oxford English Dictionary, its spelling was first used in 1538. The earliest attested reference to the Angles occurs in the 1st-century work by Tacitus, Germania, the etymology of the tribal name itself is disputed by scholars, it has been suggested that it derives from the shape of the Angeln peninsula, an angular shape. An alternative name for England is Albion, the name Albion originally referred to the entire island of Great Britain. The nominally earliest record of the name appears in the Aristotelian Corpus, specifically the 4th century BC De Mundo, in it are two very large islands called Britannia, these are Albion and Ierne. But modern scholarly consensus ascribes De Mundo not to Aristotle but to Pseudo-Aristotle, the word Albion or insula Albionum has two possible origins. Albion is now applied to England in a poetic capacity. Another romantic name for England is Loegria, related to the Welsh word for England, Lloegr, the earliest known evidence of human presence in the area now known as England was that of Homo antecessor, dating to approximately 780,000 years ago. The oldest proto-human bones discovered in England date from 500,000 years ago, Modern humans are known to have inhabited the area during the Upper Paleolithic period, though permanent settlements were only established within the last 6,000 years
34.
Royal Academy of Arts
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The Royal Academy of Arts is an art institution based in Burlington House on Piccadilly in London. The Royal Academy of Arts was founded through an act of King George III on 10 December 1768 with a mission to promote the arts of design in Britain through education and exhibition. Supporters wanted to foster a national school of art and to encourage appreciation, fashionable taste in 18th-century Britain was based on continental and traditional art forms, providing contemporary British artists little opportunity to sell their works. From 1746 the Foundling Hospital, through the efforts of William Hogarth, the success of this venture led to the formation of the Society of Artists of Great Britain and the Free Society of Artists. Both these groups were primarily exhibiting societies, their success was marred by internal factions among the artists. The combined vision of education and exhibition to establish a school of art set the Royal Academy apart from the other exhibiting societies. It provided the foundation upon which the Royal Academy came to dominate the art scene of the 18th and 19th centuries, supplanting the earlier art societies. Sir William Chambers, a prominent architect, used his connections with George III to gain royal patronage and financial support of the Academy, the painter Joshua Reynolds was made its first president. Francis Milner Newton was elected the first secretary, a post he held for two decades until his resignation in 1788, the instrument of foundation, signed by George III on 10 December 1768, named 34 founder members and allowed for a total membership of 40. William Hoare and Johann Zoffany were added to this list later by the King and are known as nominated members, among the founder members were two women, a father and daughter, and two sets of brothers. The Royal Academy was initially housed in cramped quarters in Pall Mall, although in 1771 it was given temporary accommodation for its library and schools in Old Somerset House, then a royal palace. In 1780 it was installed in purpose-built apartments in the first completed wing of New Somerset House, located in the Strand and designed by Chambers, the Academy moved in 1837 to Trafalgar Square, where it occupied the east wing of the recently completed National Gallery. These premises soon proved too small to house both institutions, in 1868,100 years after the Academys foundation, it moved to Burlington House, Piccadilly, where it remains. Burlington House is owned by the British Government, and used rent-free by the Royal Academy, the first Royal Academy exhibition of contemporary art, open to all artists, opened on 25 April 1769 and ran until 27 May 1769. 136 works of art were shown and this exhibition, now known as the Royal Academy Summer Exhibition, has been staged annually without interruption to the present day. In 1870 the Academy expanded its programme to include a temporary annual loan exhibition of Old Masters. The range and frequency of these exhibitions have grown enormously since that time. Britains first public lectures on art were staged by the Royal Academy, led by Reynolds, the first president, a program included lectures by Dr. William Hunter, John Flaxman, James Barry, Sir John Soane, and J. M. W. Turner
35.
Danish Golden Age
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The Danish Golden Age covers a period of exceptional creative production in Denmark, especially during the first half of the 19th century. Although Copenhagen had suffered fires, bombardment and national bankruptcy. It also saw the development of Danish architecture in the Neoclassical style, Copenhagen, in particular, acquired a new look, with buildings designed by Christian Frederik Hansen and by Michael Gottlieb Bindesbøll. In relation to music, the Golden Age covers figures inspired by Danish romantic nationalism including J. P. E. Hartmann, Hans Christian Lumbye, Niels W. Gade, literature centred on Romantic thinking, introduced in 1802 by the Norwegian-German philosopher Henrik Steffens. Key contributors were Adam Oehlenschläger, Bernhard Severin Ingemann, N. F. S. Grundtvig and, last but not least, Hans Christian Andersen, Søren Kierkegaard furthered philosophy while Hans Christian Ørsted achieved fundamental progress in science. The Golden Age thus had an effect not only on life in Denmark but, with time. The origins of the Golden Age can be traced back to around the beginning of the 19th century, surprisingly, this was a very rough period for Denmark. Copenhagen, the centre of the intellectual life, first experienced huge fires in 1794 and 1795 which destroyed both Christiansborg Palace and large areas of the inner city. In 1801, as a result of the involvement in the League of Armed Neutrality. Then in 1813, as a result of the inability to support the costs of war. To make matters worse, Norway ceased to be part of the Danish realm when it was ceded to Sweden the following year, Copenhagens devastation nevertheless provided new opportunities. Architects and planners widened the streets, constructing beautifully designed Neoclassical buildings offering a brighter yet intimate look, at the time, with a population of only 100,000, the city was still quite small, built within the confines of the old ramparts. As a result, the figures of the day met frequently, sharing their ideas, bringing the arts. Henrik Steffens was perhaps the most effective proponent of the Romantic idea, in a series of lectures in Copenhagen, he successfully conveyed the ideas behind German romanticism to the Danes. Influential thinkers, such as Oehlenschläger and Grundtvig were quick to take up his views and it was not long before Danes from all branches of the arts and sciences were involved in a new era of Romantic nationalism, later known as the Danish Golden Age. Especially in the field of painting, change became apparent, grand historical art gave way to more widely appealing but less pretentious genre paintings and landscapes. The Golden Age is generally believed to have lasted until about 1850, around that time, Danish culture suffered from the outbreak of the First Schleswig War. In addition, political reforms involving the end of the monarchy in 1848
36.
Danish art
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Danish art is the visual arts produced in Denmark or by Danish artists. It goes back thousands of years with significant artifacts from the 2nd millennium BC, for many early periods, it is usually considered as part of the wider Nordic art of Scandinavia. Art from what is today Denmark forms part of the art of the Nordic Bronze Age, Danish medieval painting is almost entirely known from church frescos such as those from the 16th-century artist known as the Elmelunde Master. The Reformation greatly disrupted Danish artistic traditions, and left the body of painters and sculptors without large markets. Thereafter for an extended period art in Denmark was either imported from Germany, from the late 18th century on, the situation changed radically and beginning with the Danish Golden Age, a distinct tradition of Danish art has continued to flourish until today. Due to generous art subsidies, contemporary Danish art has a big production per capita, lurs are a distinctive type of giant curving Bronze Age horn, of which 35 of the 53 known examples have been found in bogs in Denmark, very often in pairs. They are normally made of bronze, and often decorated, a possibly alien find in Denmark is the Gundestrup cauldron, a richly decorated silver vessel, thought to date to the 1st century BC. It was found in 1891 in a bog near the hamlet of Gundestrup in north-eastern Jutland. The silversmithing of the plates is very skilled, the bowl,70 cm across, was beaten from a single ingot. Now in the National Museum of Denmark, it is the largest known example of European silver work from the period, the style and workmanship suggest Thracian origin, while the imagery seems Celtic, so it may not reflect local styles. Danish sites have given their names to two of the six main styles of Viking or Norse art, Jelling style and its successor Mammen style, only one Danish ship burial is known, from Ladbyskibet. The images on the runestones at Jelling are probably the best known Danish works of the period, church wall paintings are to be found in some 600 churches across Denmark, probably representing the highest concentration of surviving church murals anywhere in the world. Most of them back to the Middle Ages. They lay hidden for centuries as after the Reformation in Denmark, of most interest to Danish art are the Gothic paintings from the 15th and 16th centuries as they were painted in a style typical of native Danish painters. Adopting the Biblia pauperum approach, they present many of the most popular stories from the Old, albrecht Dürers portrait of her father Christian II of Denmark, painted in Brussels in 1521, has not survived, though portraits of him by other foreign artists have. After a period of development its pupils were indeed to lead the creation of a distinct Danish style, leading Danish artists teaching at the Academy included Christian August Lorentzen and Jens Juel, also later Director. Among his works are the series of statues of Christ. Motifs for his works were mostly from Greek mythology, but he also created portraits of important personalities, as in his tomb monument for Pope Pius VII in St Peters Basilica
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Women artists
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While women artists have been involved in making art throughout history, their work often has not been as well acknowledged as that of men. Often certain media are associated with artists, such as textile arts. Womens roles in relation to art, of course, vary in different cultures and communities, many art forms considered to be created predominantly by women have been historically dismissed from the art historical canon as craft, as opposed to fine art. Women artists faced challenges due to biases in the mainstream fine art world. They have often encountered difficulties in training, travelling and trading their work, collaboration on large projects was typical. Extrapolation to the artwork and skills of the Paleolithic era suggests that these cultures followed similar patterns, cave paintings of this era often have human hand prints, 75% of which are identifiable as womens. For about three years, the women – and only the women – of Mithila have been making devotional paintings of the gods. It is no exaggeration, then, to say that art is the expression of the most genuine aspect of Indian civilization. The earliest records of western cultures rarely mention specific individuals, although women are depicted in all of the art and some are shown laboring as artists. Ancient references by Homer, Cicero, and Virgil mention the prominent roles of women in textiles, poetry, music, Other women include Timarete, Eirene, Kalypso, Aristarete, Iaia, and Olympias. While only some of their work survives, in Ancient Greek pottery there is a hydria in the Torno Collection in Milan. It is attribute to the Leningrad painter from circa 460-450 B. C. Artists from the Medieval period include Claricia, Diemudus, Ende, Guda, Herrade of Landsberg and Hildegard of Bingen. In the early Medieval period, women worked alongside men. Manuscript illuminations, embroideries, and carved capitals from the period clearly demonstrate examples of women at work in these arts, documents show that they also were brewers, butchers, wool merchants, and iron mongers. Artists of the period, including women, were from a small subset of society whose status allowed them freedom from these more strenuous types of work. Women artists often were of two classes, either wealthy aristocratic women or nuns. Women in the category often created embroideries and textiles, those in the later category often produced illuminations. It is presumed that women were almost entirely responsible for this production, one of the most famous embroideries of the Medieval period is the Bayeux Tapestry, which was embroidered with wool and is 230 feet long
38.
Ary Scheffer
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Ary Scheffer was a Dutch-French Romantic painter. He had two brothers, the journalist and writer Karel Arnold Scheffer and the painter Hendrik Scheffer and he was taught by his parents and attended the Amsterdam drawing academy from the age of 11. In 1808 his father became court painter of Louis Bonaparte in Amsterdam, encouraged by Willem Bilderdijk, he moved to Lille for further study after the death of his father. In 1811 he and his mother, who had a influence on his career, moved to Paris. Scheffer started exhibiting at the Salon de Paris from 1812 on and he started to become recognized in 1817 and in 1819 he was asked to make a portrait of the Marquis de Lafayette. Perhaps because of Lafayettes contacts, Scheffer and his brothers were active throughout their lives. In 1830 Scheffer had a daughter Cornelia and he registered the name of her mother as Maria Johanna de Nes, but nothing is known about her and she may have died soon after Cornelias birth. Considering that his own name was Johanna de Nes, it has been speculated that he kept Cornelias mothers name a secret not to compromise a noble familys reputation. Cornelia Scheffer became a sculptor and painter in her own right, scheffers mother did not know of her namesake granddaughter until 1837, after which she took care of her until she died only two years later. Scheffer became associate member of the Royal Institute of the Netherlands in 1846, Scheffer was made commander of the Legion of Honour in 1848. On March 16,1850 he married Sophie Marin, the widow of General Baudrand and he is buried in the Cimetière de Montmartre. When Scheffer left Guérins studio, Romanticism had come into vogue in France, with painters as Xavier Sigalon, Eugène Delacroix. Scheffer did not show much affinity with their work and developed his own style, Scheffer often painted subjects from literature, especially the works of Dante, Byron and Goethe. Two versions of Dante and Beatrice have been preserved at Wolverhampton Art Gallery, United Kingdom, particularly highly praised was his Francesca da Rimini, painted in 1836. Scheffers The Shades of Francesca di Rimini and Paolo Malatesta Appearing to Dante, in the piece the entwined bodies of Francesca di Rimini and Paolo Malatesta swirl around in the never-ending tempest that is the second circle of Hell. The illusion of movement is created by the drapery that envelopes the couple and these two figures create a diagonal line that intersects the majority of the canvas creating not only a sense of movement, but also giving the painting an air of instability. Francesca clings to Paolo as he turns his face away in anguish, there are an additional two figures in the image, hidden in the background, the poets Dante and Virgil look on as they make their way through the nine circles of Hell. Scheffers popular Faust-themed paintings include Margaret at her wheel, Faust doubting, Margaret at the Sabbat, Margaret leaving church, The garden walk, in 1836, he painted two pictures of Goethes character Mignon, Mignon desires her fatherland, and Mignon yearns for heaven
39.
Francesco Hayez
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Francesco Hayez was an Italian painter, the leading artist of Romanticism in mid-19th-century Milan, renowned for his grand historical paintings, political allegories and exceptionally fine portraits. Hayez came from a poor family from Venice. His father, Giovanni, was of French origin while his mother, the child Francesco, youngest of five sons, was brought up by his mothers sister, who had married Giovanni Binasco, a well-off shipowner and collector of art. From childhood he showed a predisposition for drawing, so his uncle apprenticed him to an art restorer, later he became a student of the painter Francesco Maggiotto with whom he continued his studies for three years. He was admitted to the course of the New Academy of Fine Arts in 1806. In 1809 he won a competition from the Academy of Venice for one year of study at the Accademia di San Luca in Rome. He remained in Rome until 1814, then moved to Naples where he was commissioned by Joachim Murat to paint a major work depicting Ulysses at the court of Alcinous. In the mid-1830s he attended the Salotto Maffei salon in Milan, hosted by Clara Maffei, Francesco Hayez lived long and was prolific. His output spanned both historic paintings, including those that would have appealed to the sensibility of his patrons. Others reflect the desire to accompany a Neoclassic style to grand themes and he also painted scenes from theatrical presentations of his day. Conspicuously lacking from his output, however, are intended for devotional display. Corrado Ricci describes him as starting as a classicist but then evolving to a style of emotional tumult and his portraits have the intensity seen with Ingres and the Nazarene movement. Often sitting, the dress in austere, often black and white clothing. While he did portraits for the nobility, other subjects are artists. Late in his career, he is known to have worked using photographs, one of his favorite themes was a semi-clothed female. Often they were, like his Odalisque, evocative of oriental themes, the depictions of harems and their women allowed them the ability to paint scenes not acceptable in their society. Even his Mary Magdalene has more sensuality than religious fervor, among his works, his painting The Kiss was considered among his best work by contemporaries, and has only gained in esteem since then. The anonymous, unaffected gesture of the couple does not require knowledge of myth or literature to interpret, assessment of the career of Hayez is complicated by the fact that he often did not sign or date his works
40.
Alexandre-Gabriel Decamps
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Alexandre-Gabriel Decamps was a French painter. In his youth he travelled in the East, and reproduced Oriental life and his powers, however, soon came to be recognized, and he was ranked along with Delacroix and Ingres as one of the leaders of the French school. At the Paris Exhibition of 1855 he received the grand or council medal, most of his life was passed in the neighborhood of Paris. He was fond of animals, especially dogs, and indulged in all kinds of field sports and he died in 1860 in consequence of being thrown from a horse while hunting at Fontainebleau. Decamps was the father of Orientalism since he revealed everyday Oriental life in the 1831 Salon in Paris. His subjects and style with strong contrast of light and thick material became the reference for painters and he was the most influential painter on Orientalism and was proclaimed the chief of the new Orientalist School. Delacroix referred to him in the Women of Algiers, and the Fanatics of Tangiers, théophile Gautier’s Constantinople was described as an “immense verbal Decamps” by Henry James. Christine Peltre concludes that the equivalent to his fame were the Arabian Nights. Decamps style was characteristically and intensely French and it was marked by vivid dramatic conception, bold and even rough brushstrokes, and startling contrasts of color and of light and shade. His subjects embraced a wide range. Of this class were his Joseph sold by his Brethren, Moses taken from the Nile, perhaps the most impressive of his historical pictures is Defeat of the Cimbri, representing the conflict between a horde of barbarians and a disciplined army. Decamps produced a number of pictures, chiefly scenes from French and Turkish domestic life. The same characteristic attaches to many of his numerous animal paintings and his paintings and drawings were first made familiar to the English public through the lithographs of Eugene le Rouit. Works by Alexandre-Gabriel Decamps at the Art Renewal Center Alexandre-Gabriel Decamps at PubHist
41.
Jan August Hendrik Leys
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Henri Leys, Hendrik Leys or Jan August Hendrik, Baron Leys was a Belgian painter and printmaker. He was a representative of the historical or Romantic school in Belgian art. His history and genre paintings and portraits earned him a European-wide reputation and his style was influential on artists in, Henri Leys was born in Antwerp as the son of Hendrik-Jozef-Martinus Leys and Maria-Theresia Craen. His father ran a business specializing in religious images printed from old copper plates. The first etching by Henri Leys was an image made for his fathers shop in 1831. Henry Leys was not very interested in school but was keen on drawing. His parents supported his proclivity and let him study under a painter who lived next door. Leys subsequently studied at the Antwerp Academy of Fine Arts, from 1829 to 1832 he studied from the Antique, during this period he started to work in the studio of his brother-in-law, the genre painter Ferdinand de Braekeleer. One of Leys teachers at the Academy was Mattheus Ignatius van Bree, according to a widely circulated story, during a lecture by van Bree on the draping of the gown and peplos of figures from antiquity Leys made a remark about van Brees old-fashioned breeches. Van Bree did not appreciate the joke, but as the young hothead refused to apologize, the director evicted him from the Academy. Leys never returned to the Academy, not even as a teacher after he had achieved international success, from the start of his career Leys painted history and genre subjects. During this period Leys often collaborated with the Belgian Romantic painter Gustaf Wappers, both artists were interested in nationalistic subjects painted in styles that owe much to the example of 16th- and 17th-century Flemish painting. In 1835 Leys went to Paris where he visited the studio of Eugène Delacroix, the influence of Delaroches Romanticism is evident in Leys early work. His precocious talent was manifested at the Brussels Salon of 1836 where he exhibited his Massacre of the magistrates of Louvain for which he received high praise, Leys married Adelaïde van Haren in 1841. The couple had two daughters and a son, the family Leys initially lived in the Hobokenstraat. In 1855 Leys had a spacious house built in the street, which now bears his name. Fom 1857 to 1861 he worked on murals to decorate the room of his house. Leys became in 1852 member of the Kunstverbond or Cercle Artistique, Litéraire et Scientifique d’Anvers and its honorary chairman was the liberal mayor of Antwerp Jan Frans Loos
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James Tissot
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Jacques Joseph Tissot, Anglicized as James Tissot, was a French painter and illustrator. He was a painter of Paris society before moving to London in 1871. He became famous as a painter of fashionably dressed women shown in various scenes of everyday life. He also painted scenes and characters from the Bible, jacques Tissot was born in the port town of Nantes, France and spent his early childhood there. His father, Marcel Théodore Tissot, was a successful drapery merchant and his mother, Marie Durand, assisted her husband in the family business and designed hats. A devout Catholic, Tissots mother instilled pious devotion in the future artist from a young age. Tissots youth spent in Nantes likely contributed to his frequent depiction of shipping vessels, the involvement of his parents in the fashion industry is believed to have been an influence on his painting style, as he depicted womens clothing in fine detail. By the time Tissot was 17, he knew he wanted to pursue painting as a career and his father opposed this, preferring his son to follow a business profession, but the young Tissot gained his mothers support for his chosen vocation. Around this time, he began using the name of James. By 1854 he was known as James Tissot, he may have adopted it because of his increasing interest in everything English. In 1856 or 1857, Tissot travelled to Paris to pursue an education in art, while staying with a friend of his mother, painter Elie Delaunay, Tissot enrolled at the Ecole des Beaux-Arts to study in the studios of Hippolyte Flandrin and Louis Lamothe. Both were successful Lyonnaise painters who moved to Paris to study under Jean-Auguste-Dominique Ingres, Lamothe provided the majority of Tissots studio education, and the young artist studied on his own by copying works at the Louvre, as did most other artists of the time in their early years. Around this time, Tissot also made the acquaintance of the American James McNeill Whistler, and French painters Edgar Degas, in 1859, Tissot exhibited in the Paris Salon for the first time. He showed five paintings of scenes from the Middle Ages, many depicting scenes from Goethes Faust and these works show the influence in his work of the Belgian painter Henri Leys, whom Tissot had met in Antwerp earlier that same year. Other influences include the works of the German painters Peter von Cornelius, in about 1863, Tissot suddenly shifted his focus from the medieval style to the depiction of modern life through portraits. During this period, Tissot gained high acclaim, and quickly became a success as an artist. Like contemporaries such as Alfred Stevens and Claude Monet, Tissot also explored japonisme, including Japanese objects and costumes in his pictures, Degas painted a portrait of Tissot from these years, in which he is sitting below a Japanese screen hanging on the wall. Tissot fought in the Franco-Prussian War as part of the defence of Paris
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Neo-Grec
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It was one of many Revival styles of the mid to late 19th century, and just one among several concurrent modes of Classicism. Neo-Grec was eclectic, abstracted, polychromatic, and sometimes bizarre and its treatment was intentionally dry and linear. Its vignettes and repeating patterns lent themselves to stencilling, typical Neo-Grec color harmonies were rich and harsh, black motifs and outlines against Pompeian red, powder blue and puce, bistre and olive drab might be combined in a single decor. Lions heads and feet and eagles talons, although an old ornament, were now everywhere to be found again, the British fancy was carried captive, journeys were taken, explorations were set on foot, measurements were made and at last the Elgin Marbles came to England. Mr. Flaxman, and representing Aurora visiting Cephalus on Mount Ida, round the bottom of the room still reign the emblems of night. In the rail of a marble table are introduced medallions of the god of sleep. The bird consecrated to the latter deity perches on the pillars of a marble mantelpiece. The broad band which girds the top of the room contains medallions of the goddess and of the Phrygian youth intermixed with the instruments. It maintained its supremacy briefly before other fashions came to the top in France, in architecture the Neo-Grec is not always clearly distinguishable from the Neoclassical designs of the earlier part of the century, in buildings such as the Church of the Madeleine, Paris. Not only was the Neo-Grec popular in France, but also in Victorian England and especially in the United States, the architectural historian Neil Levine has explained the style as a reaction against the rigidity of classicism. According to Levine, Neo-Grec was a looser style, which replaced the rhetorical form of classical architectural discourse by a more literal. It was meant to be a readable architecture, in painting, the Neoclassical style continued to be taught in the French Academy des Beaux-Arts, inculcating crisp outlines, pellucid atmosphere, and a clear, clean palette. However, a formal Neo-Grec group of artists was created in the mid 19th century after growing interest in Ancient Greece and Rome, and especially the later excavations at Pompeii. Gérôme gained fame from this exhibition, and in the year formed the Neo-Grec group with Jean-Louis Hamon. The Neo-Grec group took Gleyres style and interests, but adapted it from use in painting as in Gleyres work. Because they were inspired by discoveries at Pompeii, they were also called néo-pompéiens. The paintings of the Neo-Grecs sought to capture everyday, anecdotal trivialities of ancient Greek life, in a manner of whimsy, grace, and charm, and were realistic, sensual. For this reason they were also called anacreontic after the Greek poet Anacreon, alfred de Tanouarn describes one of Hamons paintings as clear, simple and natural, the idea, the attitudes and the aspects
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