Buda was the ancient capital of the Kingdom of Hungary and since 1873 has been the western part of the Hungarian capital Budapest, on the west bank of the Danube. Buda comprises a third of Budapest’s total territory and is in fact wooded. Landmarks include Buda Castle, the Citadella, President of Hungary's residence Sándor Palace; the Buda fortress and palace were built by King Béla IV of Hungary in 1247, were the nucleus round which the town of Buda was built, which soon gained great importance, became in 1361 the capital of Hungary. While Pest was Hungarian in the 15th century, Buda had a German majority. Buda became part of Ottoman-ruled central Hungary from 1541 to 1686, it was the capital of the province of Budin during the Ottoman era. By the middle of the seventeenth century Buda had become majority Muslim resulting from an influx of Balkan Muslims. In 1686, two years after the unsuccessful siege of Buda, a renewed European campaign was started to enter Buda, the capital of medieval Hungary.
This time, the Holy League's army was twice as large, containing over 74,000 men, including German, Hungarian, Spanish, French, Burgundian and Swedish soldiers, along with other Europeans as volunteers and officers, the Christian forces reconquered Buda. After the reconquest of Buda, bourgeoisie from different parts of southern Germany moved into the deserted city. Germans — clinging to their language — crowded out assimilated the Hungarians and Serbians they had found here; as the rural population moved into Buda, in the 19th century Hungarians became the majority there. Edmund Hauler and philologist Andrew III of Hungary, buried in the Greyfriars' Church in Buda Jadwiga of Poland, born here, first woman proclaimed to be'king' of Poland. Capestrano, Italy Pest Óbuda Buda Castle Richard Brookes, "Buda", The General Gazetteer, London: J. F. C. Rivington David Brewster, ed.. "Buda". Edinburgh Encyclopædia. Edinburgh: William Blackwood. John Thomson, "Buda", New Universal Gazetteer and Geographical Dictionary, London: H.
G. Bohn Charles Knight, ed.. "Buda". Geography. English Cyclopaedia. 2. London: Bradbury, Evans, & Co. Drawings of Castle Buda over the centuries
Netherlands Institute for Art History
The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation and books on Western art from the late Middle Ages until modern times. All of this is open to the public, much of it has been digitized and is available on their website; the main goal of the bureau is to collect and make art research available, most notably in the field of Dutch Masters. Via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries; the library owns 450,000 titles, of which ca. 150,000 are auction catalogs. There are ca. 3,000 magazines, of which 600 are running subscriptions. Though most of the text is in Dutch, the standard record format includes a link to library entries and images of known works, which include English as well as Dutch titles; the RKD manages the Dutch version of the Art and Architecture Thesaurus, a thesaurus of terms for management of information on art and architecture.
The original version is an initiative of the Getty Research Institute in California. The collection was started through bequests by Frits Lugt, art historian and owner of a massive collection of drawings and prints, Cornelis Hofstede de Groot, a collector, art historian and museum curator, their bequest formed the basis for both the art collection and the library, now housed in the Koninklijke Bibliotheek. Though not all of the library's holdings have been digitised, much of its metadata is accessible online; the website itself is available in both an English user interface. In the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record of the form: https://rkd.nl/en/explore/artists/ followed by the artist's record number. For example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number.
To reference an artwork page directly, use the code listed at the bottom of the record of the form: https://rkd.nl/en/explore/images/ followed by the artwork's record number. For example, the artwork record number for The Night Watch is 3063, so its RKD artwork page can be referenced; the Art and Architecture Thesaurus assigns a record for each term, but these can not be referenced online by record number. Rather, they are used in the databases and the databases can be searched for terms. For example, the painting called "The Night Watch" is a militia painting, all records fitting this keyword can be seen by selecting this from the image screen; the thesaurus is a set of general terms, but the RKD contains a database for an alternate form of describing artworks, that today is filled with biblical references. This is the iconclass database. To see all images that depict Miriam's dance, the associated iconclass code 71E1232 can be used as a special search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
Painting is the practice of applying paint, color or other medium to a solid surface. The medium is applied to the base with a brush, but other implements, such as knives and airbrushes, can be used; the final work is called a painting. Painting is an important form in the visual arts, bringing in elements such as drawing, composition, narration, or abstraction. Paintings can be naturalistic and representational, abstract, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by religious art. Examples of this kind of painting range from artwork depicting mythological figures on pottery, to Biblical scenes Sistine Chapel ceiling, to scenes from the life of Buddha or other images of Eastern religious origin. In art, the term painting describes the result of the action; the support for paintings includes such surfaces as walls, canvas, glass, pottery, leaf and concrete, the painting may incorporate multiple other materials including sand, paper, gold leaf, as well as objects.
Color, made up of hue and value, dispersed over a surface is the essence of painting, just as pitch and rhythm are the essence of music. Color is subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West; some painters, theoreticians and scientists, including Goethe 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 formalized register of different colors in the way that there is agreement on different notes in music, such as F or C♯. For a painter, color is not divided into basic and derived colors. Painters deal with pigments, so "blue" for a painter can be any of the blues: phthalocyanine blue, Prussian blue, Cobalt blue, so on. Psychological and symbolical meanings of color are not speaking, means of painting.
Colors only add to the potential, derived context of meanings, because of this, the perception of a painting is subjective. The analogy with music is quite clear—sound in music is analogous to "light" in painting, "shades" to dynamics, "coloration" is to painting as the specific timbre of musical instruments is to music; these elements do not form a melody of themselves. Modern artists have extended the practice of painting to include, as one example, which began with Cubism and is not painting in the strict sense; some modern painters incorporate different materials such as sand, straw or wood for their texture. Examples of this are the works of 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, many others; these images can be printed onto traditional canvas. Jean Metzinger's mosaic-like Divisionist technique had its parallel in literature. I make a kind of chromatic versification and for syllables I use strokes which, variable in quantity, cannot differ in dimension without modifying the rhythm of a pictorial phraseology destined to translate the diverse emotions aroused by nature.
Rhythm, for artists such as Piet Mondrian, is important in painting as it is in music. If one defines rhythm as "a pause incorporated into a sequence" there can be rhythm in paintings; these pauses allow creative force to intervene and add new creations—form, coloration. The distribution of form, or any kind of information is of crucial importance in the given work of art, it directly affects the aesthetic value of that work; this is because the aesthetic value is functionality dependent, i.e. the freedom of perception is perceived as beauty. Free flow of energy, in art as well as in other forms of "techne", directly contributes to the aesthetic value. Music was important to the birth of abstract art, since music is abstract by nature—it does not try to represent the exterior world, but expresses in an immediate way the inner feelings of the soul. Wassily Kandinsky used musical terms to identify his works. Kandinsky theorized that "music is the ultimate teacher," and subsequently embarked upon the first seven of his ten Compositions.
Hearing tones and chords as he painted, Kandinsky theorized that, yellow is the color of middle C on a brassy trumpet. In 1871 the young Kandinsky learned to play the cello. Kandinsky's stage design for a performance of Mussorgsky's "Pictures at an Exhibition" illustrates his "synaesthetic" concept of a universal correspondence of forms and musical sounds. Music d
Lotz Károly Antal Pál, or Karl Anton Paul Lotz was a German-Hungarian painter. Karl Lotz was born in Bad Homburg vor der Höhe, the 7th and youngest surviving child of Wilhelm Christian Lotz and Antonia Höfflick, his father was a valet of Prince Gustav zu Hessen-Homburg at the time when the prince was representing Austria at the Congress of Vienna, which among other matters dealt with the House of Hessen-Homburg's rights of sovereignty over Hessen-Darmstadt. The sudden death of the young Baron von Sinclair, chargé d'affaires, forced W. C. Lotz temporarily into the rôle. While in Hungary in 1815 he made the acquaintance of the 13-year-old Antonie Hoefflich, whom he married three years later, she gave birth to 8 children. W. C. Lotz died in 1837 and Antonie moved the family to Pest. Karl attended the Piaristengymnasium, although Calvinist, he was awarded a scholarship for his exceptional academic performance, he began his artistic career as a pupil of the Hofkapellmeister Destouches in the academy of the Venetian master Jakab Marastoni.
He was a pupil of the historical painters Henrik Weber in Budapest and Carl Rahl in Vienna. Together with Rahl he worked on numerous commissions, he started on his own original works, first as a romantic landscape artist in scenes of the Alföld, as a creator of monumental murals and frescos in the style of the Venetian master Tiepolo. After various works in Budapest he became active in Vienna, he laid out plans for a grandiose palace, completed murals commissioned by the Abbot of Tihany Abbey for his abbey church on the shore of Lake Balaton. He became known for his nudes, for which both his wife and his daughters posed. Lotz found married bliss only at the age of 58, when he married the widow Jacoboy, the former wife of his brother Paul Johann Heinrich, who had died in 1828. From on he signed his works Károly Jacoboy-Lotz. In 1882 Lotz was appointed Professor at various art academies in Budapest, in 1885 he became dean of a newly established department for women painters, he was an honorary member of the Academy of Pictorial Arts in Vienna.
Hist last important public commission was the "Apotheosis of the Habsburg Dynasty", a huge ceiling fresco in the Habsburg Room of the newly rebuilt Royal Palace, that he painted in 1903, one year before his death. Lotz was seriously ill when he worked on the fresco; the "Apotheosis" followed the traditions of Baroque court painting and the work was praised by contemporary critics. The fresco survived the war unscathed, he died in 1904 in Budapest. As a "Prince of Hungarian Artists" he was interred inside a memorial, his pictures and sketches were donated to the State of Hungary and are now in the Szépművészeti Múzeum. Several Hungarian cities have streets named after him, there are Hungarian stamps bearing his likeness, there is a bust in the National Museum in Budapest. Ceiling of the Budapest Opera Mural in the large ceremonial room of the Hungarian Academy of Sciences in Budapest Mural in the stairways of the Hungarian Parliament Building in Budapest Mural in Hungarian National Museum in Budapest Mural in the Redoutensaal of Budapest's main concert hall Mural in the casino of Theresienstadt, the Czech Republic Ceiling and mural in the Stephansbasilika of Budapest as well as the seminary "Apotheosis of the Habsburg Dynasty", ceiling fresco in Buda Castle Mural in the main market hall of Budapest Mural in the east railway station of Budapest Mural in the reading room of the library of Budapest University Ceiling and mural in the Matthiaskirche in Budapest Ceiling and mural in the Justice Palace of Budapest Mural in the Weapons Museum of the Arsenal in Budapest Frescos of the Heinrichshof in Vienna Various works at the palace of Earl Károlyi Various works at the palace of Baron Weckheim Various works at the palace of Baron Lipthay Mural for the Tihany at Lake Balaton Paintings by Károly Lotz "...even among more than eighty pupils his gifts, his enthusiasm for Truth and his tireless diligence shone out."
"Though born in Bad Homburg vor der Höhe, he belongs to Hungary by virtue of his Hungarian-born mother and his family's residence in this country. Generously endowed in every other way, only luck and a commensurate material success have been denied him. Austrian Biographical Lexicon: Österreichisches Biographisches Lexikon 1815-1950, Bd. 5, p. 332 Károly Lotz in the German National Library catalogue Detailed Biography of Károly Lotz Biography and Pictures of Károly Lotz
WorldCat is a union catalog that itemizes the collections of 72,000 libraries in 170 countries and territories that participate in the Online Computer Library Center global cooperative. It is operated by Inc.. The subscribing member libraries collectively maintain WorldCat's database, the world's largest bibliographic database. OCLC makes WorldCat itself available free to libraries, but the catalog is the foundation for other subscription OCLC services. OCLC was founded in 1967 under the leadership of Fred Kilgour; that same year, OCLC began to develop the union catalog technology that would evolve into WorldCat. In 2003, OCLC began the "Open WorldCat" pilot program, making abbreviated records from a subset of WorldCat available to partner web sites and booksellers, to increase the accessibility of its subscribing member libraries' collections. In 2006, it became possible to search WorldCat directly at its website. In 2007, WorldCat Identities began providing pages for 20 million "identities", predominantly authors and persons who are the subjects of published titles.
In December 2017, WorldCat contained over 400 million bibliographic records in 491 languages, representing over 2.6 billion physical and digital library assets, the WorldCat persons dataset included over 100 million people. WorldCat operates on a batch processing model rather than a real-time model; that is, WorldCat records are synchronized at intermittent intervals with the underlying library catalogs instead of real-time or every day. Consequently: WorldCat shows that a particular item is owned by a particular library but does not provide that library's call number. WorldCat does not indicate whether or not an item is borrowed, undergoing restoration or repair, or moved to storage not directly accessible to patrons. Furthermore, WorldCat does not show whether or not a library owns multiple copies of a particular title; as an alternative, WorldCat allows participating institutions to add direct links from WorldCat to their own catalog entries for a particular item, which enables the user to determine its real-time status.
However, this still requires users to open multiple Web pages, each pointing to a different online public access catalog with its own distinctive user interface design, until they can locate a catalog entry that shows the item is available at a particular library. Copac Faceted Application of Subject Terminology Library and Archives Canada Open Library Research Libraries UK Blackman, Cathy. "WorldCat and SkyRiver: a comparison of record quantity and fullness". Library Resources & Technical Services. 58: 178–186. Doi:10.5860/lrts.58n3.178. Breeding, Marshall. "Library services platforms: a maturing genre of products". Library Technology Reports. 51: 1–38. Doi:10.5860/ltr.51n4. Matthews, Joseph R.. "An environmental scan of OCLC alternatives: a management perspective". Public Library Quarterly. 35: 175–187. Doi:10.1080/01616846.2016.1210440. McKenzie, Elizabeth. OCLC changes its rules for use of records in WorldCat: library community pushback through blogs and cultures of resistance. Boston: Suffolk University Law School.
Research paper 12-06. What the OCLC online union catalog means to me: a collection of essays. Dublin, Ohio: OCLC. 1997. ISBN 1556532237. OCLC 37492023. Wilson, Kristen. "The knowledge base at the center of the universe". Library Technology Reports. 52: 1–35. Doi:10.5860/ltr.52n6. "WorldCat data licensing". Oclc.org. Retrieved 2018-12-31. See also: "Data licenses & attribution". Oclc.org. Retrieved 2018-12-31. Information about licensing of WorldCat records and some other OCLC data. Official website "WorldCat". Oclc.org. Retrieved 2018-12-31. Information on the OCLC website about WorldCat. "Bibliographic Formats and Standards". Oclc.org. Retrieved 2018-12-31. "WorldCat Identities". Worldcat.org. Retrieved 2018-12-31
Art Nouveau is an international style of art and applied art the decorative arts, most popular between 1890 and 1910. A reaction to the academic art of the 19th century, it was inspired by natural forms and structures the curved lines of plants and flowers. English uses the French name Art Nouveau; the style is related to, but not identical with, styles that emerged in many countries in Europe at about the same time: in Austria it is known as Secessionsstil after Wiener Secession. Art Nouveau is a total art style: It embraces a wide range of fine and decorative arts, including architecture, graphic art, interior design, furniture, ceramics, glass art, metal work. By 1910, Art Nouveau was out of style, it was replaced as the dominant European architectural and decorative style first by Art Deco and by Modernism. Art Nouveau took its name from the Maison de l'Art Nouveau, an art gallery opened in 1895 by the Franco-German art dealer Siegfried Bing that featured the new style. In France, Art Nouveau was sometimes called by the British term "Modern Style" due to its roots in the Arts and Crafts movement, Style moderne, or Style 1900.
It was sometimes called Style Jules Verne, Le Style Métro, Art Belle Époque, Art fin de siècle. In Belgium, where the architectural movement began, it was sometimes termed Style nouille or Style coup de fouet. In Britain, it was known as the Modern Style, or, because of the Arts and Crafts movement led by Charles Rennie Mackintosh in Glasgow, as the "Glasgow" style. In Italy, because of the popularity of designs from London's Liberty & Co department store, it was called Stile Liberty, Stile floreale, or Arte nuova. In the United States, due to its association with Louis Comfort Tiffany, it was called the "Tiffany style". In Germany and Scandinavia, a related style emerged at about the same time. In Austria and the neighboring countries part of the Austro-Hungarian Empire, a similar style emerged, called Secessionsstil in German, or Wiener Jugendstil, after the artists of the Vienna Secession; the style was called Modern in Nieuwe Kunst in the Netherlands. In Spain the related style was known as Modernismo, Arte joven.
Some names refer to the organic forms that were popular with the Art Nouveau artists: Stile Floreal in France. The new art movement had its roots in Britain, in the floral designs of William Morris, in the Arts and Crafts movement founded by the pupils of Morris. Early prototypes of the style include the Red House of Morris, the lavish Peacock Room by James Abbott McNeill Whistler; the new movement was strongly influenced by the Pre-Raphaelite painters, including Dante Gabriel Rossetti and Edward Burne-Jones, by British graphic artists of the 1880s, including Selwyn Image, Heywood Sumner, Walter Crane, Alfred Gilbert, Aubrey Beardsley. In France, the style combined several different tendencies. In architecture, it was influenced by the architectural theorist and historian Eugène Viollet-le-Duc, a declared enemy of the historical Beaux-Arts architectural style. In his 1872 book Entretiens sur l'architecture, he wrote, "use the means and knowledge given to us by our times, without the intervening traditions which are no longer viable today, in that way we can inaugurate a new architecture.
For each function its material. This book influenced a generation of architects, including Louis Sullivan, Victor Horta, Hector Guimard, Antoni Gaudí; the French painters Maurice Denis, Pierre Bonnard and Édouard Vuillard played an important part in integrating fine arts painting with decoration. "I believe that before everything a painting must decorate", Denis wrote in 1891. "The choice of subjects or scenes is nothing. It is by the value of tones, the colored surface and the harmony of lines that I can reach the spirit and wake up the emotions." These painters all did both traditional painting and decorative painting on screens, in glass, in other media. Another important influence on the new style was Japonism: the wave of enthusiasm for Japanese woodblock printing the works of Hiroshige and Utagawa Kunisada which were imported into Europe beginning in the 1870s; the enterprising Siegfried Bing founded a monthly journal, Le Japon artistique in 1888, published thirty-six issues before it ended in 1891.
It influenced both artists, including Gustav Klimt. The stylized features of Japanese prints appeared in Art Nouveau graphics, porcelain and furniture. New technologies in printing and publishing allowed Art Nouveau to reach a global audience. Art magazines, illustrated with photographs and color lithographs, played an essential role in popularizing the new style; the Studio in England, Arts et