A library is a collection of sources of information and similar resources, made accessible to a defined community for reference or borrowing. It provides physical or digital access to material, may be a physical building or room, or a virtual space, or both. A library's collection can include books, newspapers, films, prints, microform, CDs, videotapes, DVDs, Blu-ray Discs, e-books, audiobooks and other formats. Libraries range in size from a few shelves of books to several million items. In Latin and Greek, the idea of a bookcase is represented by Bibliotheca and Bibliothēkē: derivatives of these mean library in many modern languages, e.g. French bibliothèque; the first libraries consisted of archives of the earliest form of writing—the clay tablets in cuneiform script discovered in Sumer, some dating back to 2600 BC. Private or personal libraries made up of written books appeared in classical Greece in the 5th century BC. In the 6th century, at the close of the Classical period, the great libraries of the Mediterranean world remained those of Constantinople and Alexandria.
A library is organized for use and maintained by a public body, an institution, a corporation, or a private individual. Public and institutional collections and services may be intended for use by people who choose not to—or cannot afford to—purchase an extensive collection themselves, who need material no individual can reasonably be expected to have, or who require professional assistance with their research. In addition to providing materials, libraries provide the services of librarians who are experts at finding and organizing information and at interpreting information needs. Libraries provide quiet areas for studying, they often offer common areas to facilitate group study and collaboration. Libraries provide public facilities for access to their electronic resources and the Internet. Modern libraries are being redefined as places to get unrestricted access to information in many formats and from many sources, they are extending services beyond the physical walls of a building, by providing material accessible by electronic means, by providing the assistance of librarians in navigating and analyzing large amounts of information with a variety of digital resources.
Libraries are becoming community hubs where programs are delivered and people engage in lifelong learning. As community centers, libraries are becoming important in helping communities mobilize and organize for their rights; the relationship between librarianship and human rights works to ensure that the rights of cultural minorities, the homeless, the disabled, LGBTQ community, as well as other marginalized groups are not infringed upon as protected in the Universal Declaration of Human Rights. The first libraries consisted of archives of the earliest form of writing—the clay tablets in cuneiform script discovered in temple rooms in Sumer, some dating back to 2600 BC; these archives, which consisted of the records of commercial transactions or inventories, mark the end of prehistory and the start of history. Things were much the same in the temple records on papyrus of Ancient Egypt; the earliest discovered. There is evidence of libraries at Nippur about 1900 BC and those at Nineveh about 700 BC showing a library classification system.
Over 30,000 clay tablets from the Library of Ashurbanipal have been discovered at Nineveh, providing modern scholars with an amazing wealth of Mesopotamian literary and administrative work. Among the findings were the Enuma Elish known as the Epic of Creation, which depicts a traditional Babylonian view of creation; the tablets were stored in a variety of containers such as wooden boxes, woven baskets of reeds, or clay shelves. The "libraries" were cataloged using colophons, which are a publisher's imprint on the spine of a book, or in this case a tablet; the colophons stated the series name, the title of the tablet, any extra information the scribe needed to indicate. The clay tablets were organized by subject and size. Due to limited to bookshelf space, once more tablets were added to the library, older ones were removed, why some tablets are missing from the excavated cities in Mesopotamia. According to legend, mythical philosopher Laozi was keeper of books in the earliest library in China, which belonged to the Imperial Zhou dynasty.
Evidence of catalogues found in some destroyed ancient libraries illustrates the presence of librarians. Persia at the time of the Achaemenid Empire was home to some outstanding libraries; those libraries within the kingdom had two major functions: the first came from the need to keep the records of administrative documents including transactions, governmental orders, budget allocation within and between the Satrapies and the central ruling State. The second function was to collect precious resources on different subjects of science and set of principles e.g. medical science, histor
A portrait is a painting, sculpture, or other artistic representation of a person, in which the face and its expression is predominant. The intent is to display the likeness and the mood of the person. For this reason, in photography a portrait is not a snapshot, but a composed image of a person in a still position. A portrait shows a person looking directly at the painter or photographer, in order to most engage the subject with the viewer. Most early representations that are intended to show an individual are of rulers, tend to follow idealizing artistic conventions, rather than the individual features of the subject's body, though when there is no other evidence as to the ruler's appearance the degree of idealization can be hard to assess. Nonetheless, many subjects, such as Akhenaten and some other Egyptian pharaohs, can be recognised by their distinctive features; the 28 surviving rather small statues of Gudea, ruler of Lagash in Sumeria between c. 2144–2124 BC, show a consistent appearance with some individuality.
Some of the earliest surviving painted portraits of people who were not rulers are the Greco-Roman funeral portraits that survived in the dry climate of Egypt's Fayum district. These are the only paintings from the classical world that have survived, apart from frescos, though many sculptures and portraits on coins have fared better. Although the appearance of the figures differs they are idealized, all show young people, making it uncertain whether they were painted from life; the art of the portrait flourished in Ancient Greek and Roman sculpture, where sitters demanded individualized and realistic portraits unflattering ones. During the 4th century, the portrait began to retreat in favor of an idealized symbol of what that person looked like. In the Europe of the Early Middle Ages representations of individuals are generalized. True portraits of the outward appearance of individuals re-emerged in the late Middle Ages, in tomb monuments, donor portraits, miniatures in illuminated manuscripts and panel paintings.
Moche culture of Peru was one of the few ancient civilizations. These works represent anatomical features in great detail; the individuals portrayed would have been recognizable without the need for other symbols or a written reference to their names. The individuals portrayed were members of the ruling elite, priests and distinguished artisans, they were represented during several stages of their lives. The faces of gods were depicted. To date, no portraits of women have been found. There is particular emphasis on the representation of the details of headdresses, body adornment and face painting. One of the best-known portraits in the Western world is Leonardo da Vinci's painting titled Mona Lisa, a painting of Lisa del Giocondo. What has been claimed as the world's oldest known portrait was found in 2006 in the Vilhonneur grotto near Angoulême and is thought to be 27,000 years old; when the artist creates a portrait of him- or herself, it is called a self-portrait. Identifiable examples become numerous in the late Middle Ages.
But if the definition is extended, the first was by the Egyptian Pharaoh Akhenaten's sculptor Bak, who carved a representation of himself and his wife Taheri c. 1365 BC. However, it seems that self-portraits go back to the cave paintings, the earliest representational art, literature records several classical examples that are now lost; the official portrait is a photographic production of record and dissemination of important personalities, notably kings and governors. It is decorated with official colors and symbols such as flag, presidential stripes and coat of arms of countries, states or municipalities. There is connotation as an image of events and meetings. Portrait photography is a popular commercial industry all over the world. Many people enjoy having professionally made family portraits to hang in their homes, or special portraits to commemorate certain events, such as graduations or weddings. Since the dawn of photography, people have made portraits; the popularity of the daguerreotype in the middle of the 19th century was due in large part to the demand for inexpensive portraiture.
Studios sprang up in cities around the world, some cranking out more than 500 plates a day. The style of these early works reflected the technical challenges associated with 30-second exposure times and the painterly aesthetic of the time. Subjects were seated against plain backgrounds and lit with the soft light of an overhead window and whatever else could be reflected with mirrors; as photographic techniques developed, an intrepid group of photographers took their talents out of the studio and onto battlefields, across oceans and into remote wilderness. William Shew's Daguerreotype Saloon, Roger Fenton's Photographic Van and Mathew Brady's What-is-it? Wagon set the standards for making other photographs in the field. In politics, portraits of the leader are used as a symbol of the state. In most countries it is common protocol for a portrait of the head of state to appear in important government buildings. Excessive use of a leader's portrait, such as that done of Joseph Stalin, Adolf Hitler, or Mao Zedong, can be indicative of a personality cult.
In literature the term portrait refers to analysis of a person or thing. A written portrait gives deep insight, offers an analysis that goes far beyond the superficial. For example, American author Patricia Cornwell wrote a best-selling book entitled Portrait of a Killer about
Virtual International Authority File
The Virtual International Authority File is an international authority file. It is a joint project of several national libraries and operated by the Online Computer Library Center. Discussion about having a common international authority started in the late 1990s. After a series of failed attempts to come up with a unique common authority file, the new idea was to link existing national authorities; this would present all the benefits of a common file without requiring a large investment of time and expense in the process. The project was initiated by the US Library of Congress, the German National Library and the OCLC on August 6, 2003; the Bibliothèque nationale de France joined the project on October 5, 2007. The project transitioned to being a service of the OCLC on April 4, 2012; the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together. A VIAF record receives a standard data number, contains the primary "see" and "see also" records from the original records, refers to the original authority records.
The data are available for research and data exchange and sharing. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol; the file numbers are being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAF's clustering algorithm is run every month; as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records. Authority control Faceted Application of Subject Terminology Integrated Authority File International Standard Authority Data Number International Standard Name Identifier Wikipedia's authority control template for articles Official website VIAF at OCLC
Gabriel Jean Joseph Molitor
Gabriel-Jean-Joseph, 1er Comte Molitor, was a Marshal of France. He was born in Hayingen in Lorraine. Upon the outbreak of the French Revolution, Molitor joined the French revolutionary armies as a captain in a battalion of militia. In 1793 he was given command of a brigade and served under Hoche under whom he fought at Kaiserslautern and Wissembourg. In 1795, Molitor was wounded in the Battle of Mainz. In 1799, Molitor was sent to Switzerland where he fought under André Masséna against an Austro-Russian force led by Alexander Suvorov. In 1800, he fought in the Army of the Rhine under Moreau. Molitor was promoted to the rank of général de division in 1801, he was sent with Massena to Italy in 1805, where he served at Caldiero. In 1806 he took part in the relief of Republic of Ragusa. In 1807, Molitor was transferred to the German theatre of operations, where he served against the Swedes around Stralsund, he was made governor of Pommern and was granted a comital title by Napoleon. In 1809 he was given command of a division in Massena's IV Corps and he saw action in the battles of Aspern and Wagram.
In 1810 he was sent to occupy the cities of the Hanseatic League, from 1811 to 1813 he served in Holland, in the campaign of 1814 he served under MacDonald. After the abdication of Napoleon, Molitor made his submission to the Bourbons who made him Inspector-General of the infantry. Upon the return of the emperor from Elba, Molitor joined him during the Hundred Days, for which he was stripped of his functions after Napoleon's defeat. In 1818, Molitor was restored to grace and in 1823 he commanded the II Corps, sent to Spain; the same year he was made a Marshal of France as well as a Peer. From 1827, he served as secretary to the Chamber of Peers. After the July Revolution, Molitor was allowed to keep all his functions and he served as Governor of Les Invalides and as Grand Chancellor of the Legion d'Honneur, he died in 1849 in Paris. A statue of Molitor was erected in Nancy; the 1697 Molitor Stradivarius, rumored to have once been owned by Napoleon Bonaparte, belonged to Molitor beginning in 1804.
It was sold by Tarisio Auctions in October 2010 for a world record $3.6M. Gilman, D. C.. "Molitor, Gabriel Jean Joseph, Count". New International Encyclopedia. New York: Dodd, Mead
The Salon, or Paris Salon, beginning in 1667 was the official art exhibition of the Académie des Beaux-Arts in Paris. Between 1748 and 1890 it was arguably the greatest annual or biennial art event in the Western world. At the 1761 Salon, thirty-three painters, nine sculptors, eleven engravers contributed. From 1881 onward, it has been managed by the Société des Artistes Français. In 1667, the royally sanctioned French institution of art patronage, the Académie royale de peinture et de sculpture, held its first semi-public art exhibit at the Salon Carré; the Salon's original focus was the display of the work of recent graduates of the École des Beaux-Arts, created by Cardinal Mazarin, chief minister of France, in 1648. Exhibition at the Salon de Paris was essential for any artist to achieve success in France for at least the next 200 years. Exhibition in the Salon marked a sign of royal favor. In 1725, the Salon was held in the Palace of the Louvre, when it became known as Salon or Salon de Paris.
In 1737, the exhibitions, held from 18 August 1737 to 5 September 1737 at the Grand Salon of the Louvre, became public. They were held, at first and biennially, in odd-numbered years, they would run for some weeks. Once made regular and public, the Salon's status was "never in doubt". In 1748 a jury of awarded artists was introduced. From this time forward, the influence of the Salon was undisputed; the Salon exhibited paintings floor-to-ceiling and on every available inch of space. The jostling of artwork became the subject of many other paintings, including Pietro Antonio Martini's Salon of 1785. Printed catalogues of the Salons are primary documents for art historians. Critical descriptions of the exhibitions published in the gazettes mark the beginning of the modern occupation of art critic; the French revolution opened the exhibition to foreign artists. In the 19th century the idea of a public Salon extended to an annual government-sponsored juried exhibition of new painting and sculpture, held in large commercial halls, to which the ticket-bearing public was invited.
The vernissage of opening night was a grand social occasion, a crush that gave subject matter to newspaper caricaturists like Honoré Daumier. Charles Baudelaire, Denis Diderot and others wrote reviews of the Salons; the 1848 revolution liberalized the Salon. The amount of refused works was reduced. In 1849 medals were introduced; the conservative and academic juries were not receptive to the Impressionist painters, whose works were rejected, or poorly placed if accepted. The Salon opposed the Impressionists' shift away from traditional painting styles. In 1857 the Salon jury turned away an unusually high number of the submitted paintings. An uproar resulted from regular exhibitors, rejected. In order to prove that the Salons were democratic, Napoleon III instituted the Salon des Refusés, containing a selection of the works that the Salon had rejected that year, it opened on 17 May 1863. The Impressionists held their own independent exhibitions in 1874, 1876, 1877, 1879, 1880, 1881, 1882 and 1886.
In 1881, the government withdrew official sponsorship from the annual Salon, a group of artists organized the Société des Artistes Français to take responsibility for the show. In December 1890, the leader of the Société des Artistes Français, William-Adolphe Bouguereau, propagated the idea that Salon should be an exhibition of young, not-yet awarded, artists. Ernest Meissonier, Puvis de Chavannes, Auguste Rodin and others rejected this proposal and made a secession, they created the Société Nationale des Beaux-Arts and its own exhibition referred to in the press as the Salon du Champ de Mars or the Salon de la Société Nationale des Beaux–Arts. In 1903, in response to what many artists at the time felt was a bureaucratic and conservative organization, a group of painters and sculptors led by Pierre-Auguste Renoir and Auguste Rodin organized the Salon d'Automne. J. J. Marquet de Vasselot: Répertoire des catalogues du musée du Louvre, 1793–1917 Thomas Crow: Painters and Public Life in 18th Century Paris.
Yale University Press 1987 Patricia Mainardi: The End of the Salon: Art and the State in the Early Third Republic, Cambridge University Press, 1993. Fae Brauer and Conspirators: The Paris Salons and the Modern Art Centre, Newcastle upon Tyne, Cambridge Scholars, 2013. Albert Boime, "The Salon des Refuses and the Evolution of Modern Art," Art Quarterly 32: 41 1-26 Margo Bistis, "Bad Art: The Decline of Academic Art in the Caricatural Salon," International Journal of Comic Art 7, no.1. Timeline of the Paris Salons Harriet Griffiths and Alister Mill, Database of Salon Artists, 1827-1850
Michael Bryan (art historian)
Michael Bryan was an English art historian, art dealer and connoisseur. He was involved in the purchase and resale of the great French Orleans Collection of art, selling it on to a British syndicate, owned a fashionable art gallery in Savile Row, London, his book and Critical Dictionary of Painters and Engravers, first published in 1813-16, was a standard reference work throughout the 19th century, was last republished in 1920. Bryan was born in Newcastle upon Tyne and educated at the Royal Grammar School under Dr. Moyce, he travelled to London in 1781 to Flanders with his eldest brother, where he lived from 1782 to 1790 having some connection with the cloth trade, but building up his art historical knowledge. In June 1784, he married Juliana Talbot, the sister of Charles Talbot, the 15th Earl of Shrewsbury, which gained him valuable aristocratic social connections. Bryan moved back to London in 1790 establishing himself as an dealer in Fine Art. In 1793 or 1794, he again went to the continent in search of fine pictures.
Among other places he visited Holland, remained there until an order arrived from the French government to stop all English citizens resident there. He was, amongst many others, detained at Rotterdam, it was here that he met Jean-Joseph de Laborde who, in 1798, sought his advice and assistance in disposing of the Italian part of the famous private "Orleans Collection" of art which he had acquired. Bryan, in effect, became a middleman for the purchase, contacted the Duke of Bridgewater, who authorised him to open negotiations. After three weeks, a syndicate consisting of the Duke of Bridgewater, Marquis of Stafford Lord Gower, the Earl of Carlisle, became the purchasers of the collection from Bryan, at a price of £43,500; the collection was displayed in Bryan's private art gallery in Pall Mall, London, as well as at The Lyceum in the Strand. In 1801 Bryan obtained, through the Duke of Bridgewater, the king's permission to visit Paris in order to purchase art from the cabinet of Monsieur Robit to bring back to England.
Among other fine pictures, he returned with two by the baroque Spanish artist Murillo - "The infant Christ as the Good Shepherd", "The infant St. John with the lamb". In 1804 Bryan retired from the art world, settled at his brother's home in Yorkshire, where he remained until 1811. In 1812 Bryan again visited London, commenced writing his "magnum opus" - the Biographical and Critical Dictionary of Painters and Engravers in 2 volumes; the first part appeared in May 1813, concluded in 1816. He owned a gallery in London's Savile Row, which became a fashionable gathering place for artists and their patrons. In 1818 he became involved with some speculative art purchases. On 14 February 1821, Bryan suffered a severe paralytic stroke, dying at Portman Square, London on 21 March of the same year. Bryan's dictionary of painters and engravers ( London, New York and Bombay Edition of 1903 - 1905:Volume 1 1903 Volume 2 Volume 3 Volume 4 Volume 5 1905 "Bryan, Michael". Oxford Dictionary of National Biography.
Oxford University Press. Doi:10.1093/ref:odnb/3793. Bryan's dictionary of painters and engravers revised and enlarged by George C. Williamson, hathitrust.org
The public domain consists of all the creative works to which no exclusive intellectual property rights apply. Those rights may have been forfeited, expressly waived, or may be inapplicable; the works of William Shakespeare and Beethoven, most early silent films, are in the public domain either by virtue of their having been created before copyright existed, or by their copyright term having expired. Some works are not covered by copyright, are therefore in the public domain—among them the formulae of Newtonian physics, cooking recipes, all computer software created prior to 1974. Other works are dedicated by their authors to the public domain; the term public domain is not applied to situations where the creator of a work retains residual rights, in which case use of the work is referred to as "under license" or "with permission". As rights vary by country and jurisdiction, a work may be subject to rights in one country and be in the public domain in another; some rights depend on registrations on a country-by-country basis, the absence of registration in a particular country, if required, gives rise to public-domain status for a work in that country.
The term public domain may be interchangeably used with other imprecise or undefined terms such as the "public sphere" or "commons", including concepts such as the "commons of the mind", the "intellectual commons", the "information commons". Although the term "domain" did not come into use until the mid-18th century, the concept "can be traced back to the ancient Roman Law, as a preset system included in the property right system." The Romans had a large proprietary rights system where they defined "many things that cannot be owned" as res nullius, res communes, res publicae and res universitatis. The term res nullius was defined as things not yet appropriated; the term res communes was defined as "things that could be enjoyed by mankind, such as air and ocean." The term res publicae referred to things that were shared by all citizens, the term res universitatis meant things that were owned by the municipalities of Rome. When looking at it from a historical perspective, one could say the construction of the idea of "public domain" sprouted from the concepts of res communes, res publicae, res universitatis in early Roman law.
When the first early copyright law was first established in Britain with the Statute of Anne in 1710, public domain did not appear. However, similar concepts were developed by French jurists in the 18th century. Instead of "public domain", they used terms such as publici juris or propriété publique to describe works that were not covered by copyright law; the phrase "fall in the public domain" can be traced to mid-19th century France to describe the end of copyright term. The French poet Alfred de Vigny equated the expiration of copyright with a work falling "into the sink hole of public domain" and if the public domain receives any attention from intellectual property lawyers it is still treated as little more than that, left when intellectual property rights, such as copyright and trademarks, expire or are abandoned. In this historical context Paul Torremans describes copyright as a, "little coral reef of private right jutting up from the ocean of the public domain." Copyright law differs by country, the American legal scholar Pamela Samuelson has described the public domain as being "different sizes at different times in different countries".
Definitions of the boundaries of the public domain in relation to copyright, or intellectual property more regard the public domain as a negative space. According to James Boyle this definition underlines common usage of the term public domain and equates the public domain to public property and works in copyright to private property. However, the usage of the term public domain can be more granular, including for example uses of works in copyright permitted by copyright exceptions; such a definition regards work in copyright as private property subject to fair-use rights and limitation on ownership. A conceptual definition comes from Lange, who focused on what the public domain should be: "it should be a place of sanctuary for individual creative expression, a sanctuary conferring affirmative protection against the forces of private appropriation that threatened such expression". Patterson and Lindberg described the public domain not as a "territory", but rather as a concept: "here are certain materials – the air we breathe, rain, life, thoughts, ideas, numbers – not subject to private ownership.
The materials that compose our cultural heritage must be free for all living to use no less than matter necessary for biological survival." The term public domain may be interchangeably used with other imprecise or undefined terms such as the "public sphere" or "commons", including concepts such as the "commons of the mind", the "intellectual commons", the "information commons". A public-domain book is a book with no copyright, a book, created without a license, or a book where its copyrights expired or have been forfeited. In most countries the term of protection of copyright lasts until January first, 70 years after the death of the latest living author; the longest copyright term is in Mexico, which has life plus 100 years for all deaths since July 1928. A notable exception is the United States, where every book and tale published prior to 1924 is in the public domain.