1.
Russian Empire
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The Russian Empire was a state that existed from 1721 until it was overthrown by the short-lived February Revolution in 1917. One of the largest empires in history, stretching over three continents, the Russian Empire was surpassed in landmass only by the British and Mongol empires. The rise of the Russian Empire happened in association with the decline of neighboring powers, the Swedish Empire, the Polish–Lithuanian Commonwealth, Persia. It played a role in 1812–14 in defeating Napoleons ambitions to control Europe. The House of Romanov ruled the Russian Empire from 1721 until 1762, and its German-descended cadet branch, with 125.6 million subjects registered by the 1897 census, it had the third-largest population in the world at the time, after Qing China and India. Like all empires, it included a large disparity in terms of economics, ethnicity, there were numerous dissident elements, who launched numerous rebellions and assassination attempts, they were closely watched by the secret police, with thousands exiled to Siberia. Economically, the empire had an agricultural base, with low productivity on large estates worked by serfs. The economy slowly industrialized with the help of foreign investments in railways, the land was ruled by a nobility from the 10th through the 17th centuries, and subsequently by an emperor. Tsar Ivan III laid the groundwork for the empire that later emerged and he tripled the territory of his state, ended the dominance of the Golden Horde, renovated the Moscow Kremlin, and laid the foundations of the Russian state. Tsar Peter the Great fought numerous wars and expanded an already huge empire into a major European power, Catherine the Great presided over a golden age. She expanded the state by conquest, colonization and diplomacy, continuing Peter the Greats policy of modernisation along West European lines, Tsar Alexander II promoted numerous reforms, most dramatically the emancipation of all 23 million serfs in 1861. His policy in Eastern Europe involved protecting the Orthodox Christians under the rule of the Ottoman Empire and that connection by 1914 led to Russias entry into the First World War on the side of France, Britain, and Serbia, against the German, Austrian and Ottoman empires. The Russian Empire functioned as a monarchy until the Revolution of 1905. The empire collapsed during the February Revolution of 1917, largely as a result of failures in its participation in the First World War. Perhaps the latter was done to make Europe recognize Russia as more of a European country, Poland was divided in the 1790-1815 era, with much of the land and population going to Russia. Most of the 19th century growth came from adding territory in Asia, Peter I the Great introduced autocracy in Russia and played a major role in introducing his country to the European state system. However, this vast land had a population of 14 million, grain yields trailed behind those of agriculture in the West, compelling nearly the entire population to farm. Only a small percentage lived in towns, the class of kholops, close to the one of slavery, remained a major institution in Russia until 1723, when Peter I converted household kholops into house serfs, thus including them in poll taxation
Russian Empire
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Peter the Great officially renamed the Tsardom of Russia the Russian Empire in 1721, and himself its first emperor. He instituted the
sweeping reforms and oversaw the transformation of Russia into a major European power.
Russian Empire
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Flag
Russian Empire
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Empress
Catherine the Great, who reigned from 1762 to 1796, continued the empire's expansion and modernization. Considering herself an
enlightened absolutist, she played a key role in the
Russian Enlightenment.
Russian Empire
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Catherine II Sestroretsk Rouble (1771) is made of solid copper measuring 77 millimetres (3 3 ⁄ 100 in) (diameter), 26 millimetres (1 1 ⁄ 50 in) (thickness), and weighs 1.022 kg (2.25 lb). It is the largest copper coin ever issued.
2.
New York City
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The City of New York, often called New York City or simply New York, is the most populous city in the United States. With an estimated 2015 population of 8,550,405 distributed over an area of about 302.6 square miles. Located at the tip of the state of New York. Home to the headquarters of the United Nations, New York is an important center for international diplomacy and has described as the cultural and financial capital of the world. Situated on one of the worlds largest natural harbors, New York City consists of five boroughs, the five boroughs – Brooklyn, Queens, Manhattan, The Bronx, and Staten Island – were consolidated into a single city in 1898. In 2013, the MSA produced a gross metropolitan product of nearly US$1.39 trillion, in 2012, the CSA generated a GMP of over US$1.55 trillion. NYCs MSA and CSA GDP are higher than all but 11 and 12 countries, New York City traces its origin to its 1624 founding in Lower Manhattan as a trading post by colonists of the Dutch Republic and was named New Amsterdam in 1626. The city and its surroundings came under English control in 1664 and were renamed New York after King Charles II of England granted the lands to his brother, New York served as the capital of the United States from 1785 until 1790. It has been the countrys largest city since 1790, the Statue of Liberty greeted millions of immigrants as they came to the Americas by ship in the late 19th and early 20th centuries and is a symbol of the United States and its democracy. In the 21st century, New York has emerged as a node of creativity and entrepreneurship, social tolerance. Several sources have ranked New York the most photographed city in the world, the names of many of the citys bridges, tapered skyscrapers, and parks are known around the world. Manhattans real estate market is among the most expensive in the world, Manhattans Chinatown incorporates the highest concentration of Chinese people in the Western Hemisphere, with multiple signature Chinatowns developing across the city. Providing continuous 24/7 service, the New York City Subway is one of the most extensive metro systems worldwide, with 472 stations in operation. Over 120 colleges and universities are located in New York City, including Columbia University, New York University, and Rockefeller University, during the Wisconsinan glaciation, the New York City region was situated at the edge of a large ice sheet over 1,000 feet in depth. The ice sheet scraped away large amounts of soil, leaving the bedrock that serves as the foundation for much of New York City today. Later on, movement of the ice sheet would contribute to the separation of what are now Long Island and Staten Island. The first documented visit by a European was in 1524 by Giovanni da Verrazzano, a Florentine explorer in the service of the French crown and he claimed the area for France and named it Nouvelle Angoulême. Heavy ice kept him from further exploration, and he returned to Spain in August and he proceeded to sail up what the Dutch would name the North River, named first by Hudson as the Mauritius after Maurice, Prince of Orange
New York City
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Clockwise, from top:
Midtown Manhattan,
Times Square, the
Unisphere in
Queens, the
Brooklyn Bridge,
Lower Manhattan with
One World Trade Center,
Central Park, the
headquarters of the United Nations, and the
Statue of Liberty
New York City
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New Amsterdam, centered in the eventual
Lower Manhattan, in 1664, the year
England took control and renamed it "New York".
New York City
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The
Battle of Long Island, the largest battle of the
American Revolution, took place in
Brooklyn in 1776.
New York City
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Broadway follows the Native American Wickquasgeck Trail through Manhattan.
3.
New York (state)
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New York is a state in the northeastern United States, and is the 27th-most extensive, fourth-most populous, and seventh-most densely populated U. S. state. New York is bordered by New Jersey and Pennsylvania to the south and Connecticut, Massachusetts, and Vermont to the east. With an estimated population of 8.55 million in 2015, New York City is the most populous city in the United States, the New York Metropolitan Area is one of the most populous urban agglomerations in the world. New York City makes up over 40% of the population of New York State, two-thirds of the states population lives in the New York City Metropolitan Area, and nearly 40% lives on Long Island. Both the state and New York City were named for the 17th-century Duke of York, the next four most populous cities in the state are Buffalo, Rochester, Yonkers, and Syracuse, while the state capital is Albany. New York has a diverse geography and these more mountainous regions are bisected by two major river valleys—the north-south Hudson River Valley and the east-west Mohawk River Valley, which forms the core of the Erie Canal. Western New York is considered part of the Great Lakes Region and straddles Lake Ontario, between the two lakes lies Niagara Falls. The central part of the state is dominated by the Finger Lakes, New York had been inhabited by tribes of Algonquian and Iroquoian-speaking Native Americans for several hundred years by the time the earliest Europeans came to New York. The first Europeans to arrive were French colonists and Jesuit missionaries who arrived southward from settlements at Montreal for trade, the British annexed the colony from the Dutch in 1664. The borders of the British colony, the Province of New York, were similar to those of the present-day state, New York is home to the Statue of Liberty, a symbol of the United States and its ideals of freedom, democracy, and opportunity. In the 21st century, New York has emerged as a node of creativity and entrepreneurship, social tolerance. On April 17,1524 Verrazanno entered New York Bay, by way of the now called the Narrows into the northern bay which he named Santa Margherita. Verrazzano described it as a vast coastline with a delta in which every kind of ship could pass and he adds. This vast sheet of water swarmed with native boats and he landed on the tip of Manhattan and possibly on the furthest point of Long Island. Verrazannos stay was interrupted by a storm which pushed him north towards Marthas Vineyard, in 1540 French traders from New France built a chateau on Castle Island, within present-day Albany, due to flooding, it was abandoned the next year. In 1614, the Dutch under the command of Hendrick Corstiaensen, rebuilt the French chateau, Fort Nassau was the first Dutch settlement in North America, and was located along the Hudson River, also within present-day Albany. The small fort served as a trading post and warehouse, located on the Hudson River flood plain, the rudimentary fort was washed away by flooding in 1617, and abandoned for good after Fort Orange was built nearby in 1623. Henry Hudsons 1609 voyage marked the beginning of European involvement with the area, sailing for the Dutch East India Company and looking for a passage to Asia, he entered the Upper New York Bay on September 11 of that year
New York (state)
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British general
John Burgoyne surrenders at
Saratoga in 1777.
New York (state)
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Flag
New York (state)
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1800 map of New York from
Low's Encyclopaedia
New York (state)
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The
Erie Canal at
Lockport, New York in 1839
4.
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
Sculpture
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The Dying Gaul, or The Capitoline Gaul a Roman marble copy of a
Hellenistic work of the late 3rd century BCE
Capitoline Museums, Rome
Sculpture
Sculpture
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Michelangelo 's
Moses, (c. 1513–1515), housed in the church of
San Pietro in Vincoli in
Rome. The sculpture was commissioned in 1505 by
Pope Julius II for his
tomb.
Sculpture
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Assyrian
lamassu gate guardian from
Khorsabad, c. 721–800 BCE
5.
Cubism
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Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. Cubism has been considered the most influential art movement of the 20th century, the term is broadly used in association with a wide variety of art produced in Paris during the 1910s and extending through the 1920s. The movement was pioneered by Georges Braque and Pablo Picasso, joined by Andre Lhote, Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris. A primary influence that led to Cubism was the representation of form in the late works of Paul Cézanne. The impact of Cubism was far-reaching and wide-ranging, Cubism spread rapidly across the globe and in doing so evolved to a greater or lesser extent. In essence, Cubism was the origin of a process that produced diversity. In France, offshoots of Cubism developed, including Orphism, Abstract art, in other countries Futurism, Suprematism, Dada, Constructivism, De Stijl and Art Deco developed in response to Cubism. Other common threads between these movements include the faceting or simplification of geometric forms, and the association of mechanization. Cubism began between 1907 and 1911, Pablo Picassos 1907 painting Les Demoiselles dAvignon has often been considered a proto-Cubist work. Georges Braques 1908 Houses at L’Estaque prompted the critic Louis Vauxcelles to refer to bizarreries cubiques, Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings. A second phase, Synthetic Cubism, remained vital until around 1919, english art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. Douglas Coopers restrictive use of terms to distinguish the work of Braque, Picasso, Gris. Alternative interpretations of Cubism have therefore developed, wider views of Cubism include artists who were later associated with the Salle 41 artists, e. g. John Berger identifies the essence of Cubism with the mechanical diagram. The metaphorical model of Cubism is the diagram, The diagram being a symbolic representation of invisible processes, forces, structures. A diagram need not eschew certain aspects of appearance but these too will be treated as not as imitations or recreations. During the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian, artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein, at a time when artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks. Picassos paintings of 1907 have been characterized as Protocubism, as seen in Les Demoiselles dAvignon
Cubism
–
Pablo Picasso, 1910, Girl with a Mandolin (Fanny Tellier), oil on canvas, 100.3 x 73.6 cm,
Museum of Modern Art, New York
Cubism
–
Pablo Picasso,
Les Demoiselles d'Avignon, 1907, considered to be a major step towards the founding of the Cubist movement
Cubism
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Pablo Picasso, 1909-10, Figure dans un Fauteuil (Seated Nude, Femme nue assise), oil on canvas, 92.1 x 73 cm,
Tate Modern, London
Cubism
–
Paul Cézanne, Quarry Bibémus, 1898-1900,
Museum Folkwang,
Essen,
Germany
6.
American Academy of Arts and Letters
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The American Academy of Arts and Letters is a 250-member honor society, its goal is to foster, assist, and sustain excellence in American literature, music, and art. The Academys galleries are open to the public on a published schedule, opened in 2014, a permanent exhibit is the recreated studio of composer Charles Ives. The auditorium is sought out by musicians wishing to live because the acoustics are considered among the worlds finest. The Academy was created in 1904 by the membership of the National Institute of Arts, the first seven academicians were elected from ballots cast by the entire membership. In 1908 poet Julia Ward Howe was elected, and thus became the first female academician, in 1976 the two groups combined under the name American Academy and Institute of Arts and Letters. In 1992 members adopted the current organizational title, the oldest organization associated with the group was founded in 1865 at Boston. The American Social Science Association produced the National Institute of Arts, the qualification for membership in this body was to have made notable achievements in art, music, or literature. The membership was at first limited to 150, in 1904 the membership was increased by the Institutes introducing a two-tiered structure,50 elite members and 200 regular members. The people in the group were gradually elected over the next several years. The larger group was called the Institute, while the group was called the Academy. The strict two-tiered system persisted for 72 years, in 1976 members created an organization called the American Academy and Institute of Arts and Letters. The combined Academy/Institute structure had a maximum of 250 living United States citizens as members, plus up to 75 foreign composers, artists and it also established the annual Witter Bynner Poetry Prize in 1980 to support the work of a young poet. The two-tiered system persisted until 1993, when it was completely abandoned, the Academy holds a Congressional charter under Title 36 of the United States Code, which means that it is one of the comparatively rare Title 36 corporations in the United States. The 1916 statute of incorporation established this institution amongst a number of other patriotic. The federal incorporation was originally construed primarily as an honor, the special recognition neither implies nor accords Congress any special control over the Academy, which remains free to function independently. Active sponsors of Congressional action were Senator Henry Cabot Lodge of Massachusetts, the process which led to the creation of this federal charter was accompanied by controversy, and the first attempt to gain the charter in 1910 failed. Sen. Lodge re-introduced legislation which passed the Senate in 1913, the Academy was incorporated under the laws of the State of New York in 1914, which factors in decision-making which resulted in Congressional approval in 1916. The Academy occupies three buildings on the west end of the Audubon Terrace complex created by Archer M. Huntington, the heir to the Southern Pacific Railroad fortune and a noted philanthropist
American Academy of Arts and Letters
–
Audubon Terrace, the campus that the academy shares.
American Academy of Arts and Letters
–
The bronze entrance doors to the administration building on West 155th Street were designed by Academy member
Adolph Alexander Weinman and are dedicated to the memory of
Mary E. Wilkins Freeman and to the women writers of the United States.
7.
Ukrainian language
–
Ukrainian /juːˈkreɪniən/ is an East Slavic language. Written Ukrainian uses a variant of the Cyrillic script, historical linguists trace the origin of the Ukrainian language to the Old East Slavic of the early medieval state of Kievan Rus. After the fall of the Kievan Rus as well as the Kingdom of Galicia–Volhynia, the Modern Ukrainian language has been in common use since the late 17th century, associated with the establishment of the Cossack Hetmanate. From 1804 until the Russian Revolution, the Ukrainian language was banned from schools in the Russian Empire and it has always maintained a sufficient base in Western Ukraine, where the language was never banned, in its folklore songs, itinerant musicians, and prominent authors. The Ukrainian language retains a degree of intelligibility with Belarusian and Russian. The first theory of the origin of Ukrainian language was suggested in Imperial Russia in the middle of the 18th century by Mikhail Lomonosov and this theory posits the existence of a common language spoken by all East Slavic people in the time of the Rus. Another point of view developed during the 19th and 20th centuries by linguists of Imperial Russia, like Lomonosov, they assumed the existence of a common language spoken by East Slavs in the past. This general point of view is the most accepted amongst academics worldwide, the supporters of this theory disagree, however, about the time when the different languages were formed. Soviet scholars set the divergence between Ukrainian and Russian only at time periods. During the time of the incorporation of Ruthenia into the Polish–Lithuanian Commonwealth and this point of view is, however, at variance with some historical data. In fact, several East Slavic tribes, such as Polans, Drevlyans, Severians, Dulebes, White Croats, Tiverians, notably, some Ukrainian features were recognizable in the southern dialects of Old East Slavic as far back as the language can be documented. In contrast, Ahatanhel Krymsky and Alexei Shakhmatov assumed the existence of the spoken language of Eastern Slavs only in prehistoric times. According to their point of view, the diversification of the Old East Slavic language took place in the 8th or early 9th century, Ukrainian linguist Stepan Smal-Stotsky went even further, denying the existence of a common Old East Slavic language at any time in the past. Similar points of view were shared by Yevhen Tymchenko, Vsevolod Hantsov, Olena Kurylo, Ivan Ohienko, according to this theory, the dialects of East Slavic tribes evolved gradually from the common Proto-Slavic language without any intermediate stages during the 6th through 9th centuries. The Ukrainian language was formed by convergence of tribal dialects, mostly due to a migration of the population within the territory of todays Ukraine in later historical periods. This point of view was supported by George Shevelovs phonological studies. During the 13th century, when German settlers were invited to Ukraine by the princes of Galicia-Vollhynia and their influence would continue under Poland not only through German colonists but also through the Yiddish-speaking Jews. Often such words involve trade or handicrafts, examples of words of German or Yiddish origin spoken in Ukraine include dakh, rura, rynok, kushnir, and majster
Ukrainian language
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Miniature of
St Luke from the
Peresopnytsia Gospels (1561).
Ukrainian language
–
Ukrainian-speaking world
Ukrainian language
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The 1921 Soviet recruitment poster. It uses traditional Ukrainian imagery with Ukrainian-language text: "Son! Enroll in the school of
Red commanders, and the defense of
Soviet Ukraine will be ensured."
Ukrainian language
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Anti-russification protest. The banner reads "For Ukrainian Children – a Ukrainian school!".
8.
Russian language
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Russian is an East Slavic language and an official language in Russia, Belarus, Kazakhstan, Kyrgyzstan and many minor or unrecognised territories. Russian belongs to the family of Indo-European languages and is one of the four living members of the East Slavic languages, written examples of Old East Slavonic are attested from the 10th century and beyond. It is the most geographically widespread language of Eurasia and the most widely spoken of the Slavic languages and it is also the largest native language in Europe, with 144 million native speakers in Russia, Ukraine and Belarus. Russian is the eighth most spoken language in the world by number of native speakers, the language is one of the six official languages of the United Nations. Russian is also the second most widespread language on the Internet after English, Russian distinguishes between consonant phonemes with palatal secondary articulation and those without, the so-called soft and hard sounds. This distinction is found between pairs of almost all consonants and is one of the most distinguishing features of the language, another important aspect is the reduction of unstressed vowels. Russian is a Slavic language of the Indo-European family and it is a lineal descendant of the language used in Kievan Rus. From the point of view of the language, its closest relatives are Ukrainian, Belarusian, and Rusyn. An East Slavic Old Novgorod dialect, although vanished during the 15th or 16th century, is considered to have played a significant role in the formation of modern Russian. In the 19th century, the language was often called Great Russian to distinguish it from Belarusian, then called White Russian and Ukrainian, however, the East Slavic forms have tended to be used exclusively in the various dialects that are experiencing a rapid decline. In some cases, both the East Slavic and the Church Slavonic forms are in use, with different meanings. For details, see Russian phonology and History of the Russian language and it is also regarded by the United States Intelligence Community as a hard target language, due to both its difficulty to master for English speakers and its critical role in American world policy. The standard form of Russian is generally regarded as the modern Russian literary language, mikhail Lomonosov first compiled a normalizing grammar book in 1755, in 1783 the Russian Academys first explanatory Russian dictionary appeared. By the mid-20th century, such dialects were forced out with the introduction of the education system that was established by the Soviet government. Despite the formalization of Standard Russian, some nonstandard dialectal features are observed in colloquial speech. Thus, the Russian language is the 6th largest in the world by number of speakers, after English, Mandarin, Hindi/Urdu, Spanish, Russian is one of the six official languages of the United Nations. Education in Russian is still a choice for both Russian as a second language and native speakers in Russia as well as many of the former Soviet republics. Russian is still seen as an important language for children to learn in most of the former Soviet republics, samuel P. Huntington wrote in the Clash of Civilizations, During the heyday of the Soviet Union, Russian was the lingua franca from Prague to Hanoi
Russian language
–
Russian language street sign in
Russia.
Russian language
–
Russian minimarket in
Limassol, Cyprus; translation: "Teremok market. Russian goods. Phone number: 96 74 19 63"
Russian language
–
This page from an "ABC" book printed in Moscow in 1694 shows the letter
П.
Russian language
–
The
Ostromir Gospels of 1056 is the second oldest
East Slavic book known, one of many medieval
illuminated manuscripts preserved in the
Russian National Library.
9.
Avant-garde
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The avant-garde are people or works that are experimental, radical, or unorthodox, with respect to art, culture, and society. It may be characterized by nontraditional, aesthetic innovation and initial unacceptability, the avant-garde pushes the boundaries of what is accepted as the norm or the status quo, primarily in the cultural realm. The avant-garde is considered by some to be a hallmark of modernism, the avant-garde also promotes radical social reforms. Several writers have attempted, with limited success, to map the parameters of avant-garde activity, the Italian essayist Renato Poggioli provides one of the best-known analyses of vanguardism as a cultural phenomenon in his 1962 book Teoria dellarte davanguardia. Other authors have attempted both to clarify and to extend Poggiolis study, bürgers essay also greatly influenced the work of contemporary American art-historians such as the German Benjamin H. D. Buchloh. Buchloh, in the collection of essays Neo-avantgarde and Culture Industry critically argues for an approach to these positions. Subsequent criticism theorized the limitations of these approaches, noting their circumscribed areas of analysis, including Eurocentric, chauvinist, and genre-specific definitions. The concept of avant-garde refers primarily to artists, writers, composers and thinkers whose work is opposed to cultural values. For Greenberg, these forms were therefore kitsch, phony, faked or mechanical culture, for instance, during the 1930s the advertising industry was quick to take visual mannerisms from surrealism, but this does not mean that 1930s advertising photographs are truly surreal. In this way the autonomous artistic merit so dear to the vanguardist was abandoned and sales became the measure. It has become common to describe successful rock musicians and celebrated film-makers as avant-garde, nevertheless, an incisive critique of vanguardism as against the views of mainstream society was offered by the New York critic Harold Rosenberg in the late 1960s. Since then it has been flanked by what he called avant-garde ghosts to the one side, and this has seen culture become, in his words, a profession one of whose aspects is the pretense of overthrowing it. Avant-garde in music can refer to any form of working within traditional structures while seeking to breach boundaries in some manner. The term is used loosely to describe the work of any musicians who radically depart from tradition altogether, although most avant-garde composers have been men, this is not exclusively the case. Women avant-gardists include Pauline Oliveros, Diamanda Galás, Meredith Monk, there are movements in theatre history that are characterized by their contributions to the avant-garde traditions in both the United States and Europe. Among these are Fluxus, Happenings, and Neo-Dada, Avant-garde – Wikipedia book Barron, Stephanie, and Maurice Tuchman. The Avant-garde in Russia, 1910–1930, New Perspectives, Los Angeles County Museum of Art Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D. C. Los Angeles, CA, Los Angeles County Museum of Art ISBN 0-87587-095-3, Cambridge, MA, ISBN 0-671-20422-X Berg, Hubert van den, and Walter Fähnders
Avant-garde
–
The Love of Zero, a 1927 film by
Robert Florey
Avant-garde
–
Marcel Duchamp,
Fountain, 1917. Photograph by
Alfred Stieglitz
10.
Artist
–
An artist is a person engaged in one or more of any of a broad spectrum of activities related to creating art, practicing the arts or demonstrating an art. The common usage in everyday speech and academic discourse is a practitioner in the visual arts only. The term is used in the entertainment business, especially in a business context, for musicians. Artiste is a variant used in English only in this context, use of the term to describe writers, for example, is valid, but less common, and mostly restricted to contexts like criticism. Wiktionary defines the noun artist as follows, A person who creates art, a person who makes and creates art as an occupation. A person who is skilled at some activity, a person whose trade or profession requires a knowledge of design, drawing, painting, etc. The adjectival Latin form of the word, technicus, became the source of the English words technique, technology, in ancient Greece sculptors and painters were held in low regard, somewhere between freemen and slaves, their work regarded as mere manual labour. The word art derives from the Latin ars, which, although literally defined, means skill method or technique, and conveys a connotation of beauty. During the Middle Ages the word artist already existed in countries such as Italy. An artist was able to do a work better than others, so the skilled excellency was underlined. In this period some artisanal products were more precious and expensive than paintings or sculptures. With the Academies in Europe the gap between fine and applied arts was definitely set, Artist is a descriptive term applied to a person who engages in an activity deemed to be an art. An artist also may be defined unofficially as a person who expresses him- or herself through a medium, the word is also used in a qualitative sense of, a person creative in, innovative in, or adept at, an artistic practice. Art historians and critics define artists as those who produce art within a recognized or recognizable discipline, contrasting terms for highly skilled workers in media in the applied arts or decorative arts include artisan, craftsman, and specialized terms such as potter, goldsmith or glassblower. The term may also be used loosely or metaphorically to denote highly skilled people in any activities, as well— law, medicine, mechanics, or mathematics. Often, discussions on the focus on the differences among artist and technician, entertainer and artisan, fine art and applied art, or what constitutes art. The French word artiste has been imported into the English language where it means a performer, use of the word artiste can also be a pejorative term. The English word artiste has thus a range of meaning than the word artiste in French
Artist
–
Johann Wolfgang von Goethe, German artist known for his works of poetry, drama, prose, philosophy, visual arts, and science.
11.
Graphic designer
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A graphic designer is a professional within the graphic design and graphic arts industry who assembles together images, typography, or motion graphics to create a piece of design. A graphic designer creates the graphics primarily for published, printed or electronic media, such as brochures and they are also sometimes responsible for typesetting, illustration, user interfaces, and web design. A core responsibility of the job is to present information in a way that is both accessible and memorable. A degree or certificate from a trade school is usually considered essential for a graphic design position. After a career history has been established, though, the designers experience. A portfolio, which is the method for demonstrating these qualifications, is usually required to be shown at job interviews. One can obtain an AAS, BA, BFA, BCA, degree programs available vary depending upon the institution, although typical U. S. graphic design jobs require at least some form of degree. Current graphic designer jobs demand proficiency in one or more graphic design software programs, a common software package used in the graphic design industry is Adobe Creative Cloud. This software package contains the three main programs used by designers, which are Photoshop, Illustrator and InDesign. Photoshop, InDesign, and Illustrator are the standard applications for many graphic design positions. Another example of a software package is CorelDraw Graphics Suite. Outside the graphic design industry, many people use Microsoft Word or Microsoft Publisher to create a layout or design, however, depending on the job at hand, most designers create the layout in either InDesign, CorelDRAW or QuarkXPress. Specifically, the designer will type or import the text in the program, also importing the graphics. There are a couple of reasons a designer builds a layout in this fashion, as a result, the file size can become very large, depending upon the photos and graphics used in it. By using a program and linking these graphics and images. When the designer is ready to go to press, s/he will either create a press-ready PDF, or use the Package function in InDesign, InDesign, CorelDRAW, or QuarkXPress make it possible to work with large multiple page layouts, such as catalogs and booklets. A web designer should understand how to work with XML, HTML, a print designer should understand the processes involved in printing to be able to produce press-ready artwork. Designers should be able to solve visual communication problems or challenges, in doing so, the designer must identify the communications issue, gather and analyze information related to the issue, and generate potential approaches aimed at solving the problem
Graphic designer
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Graphic designers
Gabriel and Maxim Shamir
12.
Armory Show
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Among the many exhibitions that have been held in the vast spaces of U. S. The three-city exhibition started in New York Citys 69th Regiment Armory, on Lexington Avenue between 25th and 26th Streets, from February 17 until March 15,1913. The exhibition went on to show at the Art Institute of Chicago and then to The Copley Society of Art in Boston, the show served as a catalyst for American artists, who became more independent and created their own artistic language. On 14 December 1911 an early meeting of what would become the Association of American Painters and Sculptors was organized at Madison Gallery in New York, the meeting included Henry Fitch Taylor, Jerome Myers, Elmer Livingston MacRae and Walt Kuhn. In January 1912, Walt Kuhn, Walter Pach, and Arthur B, Davies joined together with some two dozen of their colleagues to reinforce a professional coalition, AAPS. They intended the organization to lead the public taste in art, other founding AAPS members included D. Putnam Brinley, Gutzon Borglum, John Frederick Mowbray-Clarke, Leon Dabo, William J. Glackens, Ernest Lawson, Jonas Lie, George Luks, Karl Anderson, James E. Fraser, Allen Tucker, Davies served as president of AAPS, with Kuhn acting as secretary. The AAPS members spent more than a year planning their first project, the International Exhibition of Modern Art, a show of giant proportions, unlike any New York had seen. The 69th Regiment Armory was settled on as the site for the exhibition in the spring of 1912, rented for a fee of $5,000. It was confirmed that the show would travel to Chicago. While in Paris Kuhn met up with Pach, who knew the art scene there intimately, only after Davies and Kuhn returned to New York in December did they issue an invitation for American artists to participate. Pach was responsible for securing loans from these painters for the Armory Show, most of the artists in Paris who sent works to the Armory Show knew Pach personally and entrusted their works to him. The Armory Show was the first, and, ultimately, the only exhibition mounted by the AAPS and it displayed some 1,300 paintings, sculptures, and decorative works by over 300 avant-garde European and American artists. Impressionist, Fauvist, and Cubist works were represented, news reports and reviews were filled with accusations of quackery, insanity, immorality, and anarchy, as well as parodies, caricatures, doggerels and mock exhibitions. About the modern works, former President Theodore Roosevelt declared, Thats not art, the civil authorities did not, however, close down or otherwise interfere with the show. Julian Street, an art critic, wrote that the work resembled an explosion in a shingle factory, the painting was purchased from the Armory Show by Fredric C. The exhibition went on to show at the Art Institute of Chicago and then to The Copley Society of Art in Boston, while in Chicago, the exhibition created a scandal that reached the governors office. Several articles in the press recounted the issue, a visit of an investigator to the show and his report on the pictures caused Lieutenant Governor Barratt OHara to order an immediate examination of the entire exhibition
Armory Show
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Armory show button, 1913, from the Archives of American Art
Armory Show
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ArmoryShow poster
Armory Show
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"A slight attack of third dimentia [sic] brought on by excessive study of the much-talked of cubist pictures in the International Exhibition at New York" by
John French Sloan, April 1913.
Armory Show
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69th Regiment Armory in 2008
13.
Ukraine
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Ukraine is currently in territorial dispute with Russia over the Crimean Peninsula which Russia annexed in 2014 but which Ukraine and most of the international community recognise as Ukrainian. Including Crimea, Ukraine has an area of 603,628 km2, making it the largest country entirely within Europe and it has a population of about 42.5 million, making it the 32nd most populous country in the world. The territory of modern Ukraine has been inhabited since 32,000 BC, during the Middle Ages, the area was a key centre of East Slavic culture, with the powerful state of Kievan Rus forming the basis of Ukrainian identity. Following its fragmentation in the 13th century, the territory was contested, ruled and divided by a variety of powers, including Lithuania, Poland, the Ottoman Empire, Austria-Hungary, and Russia. A Cossack republic emerged and prospered during the 17th and 18th centuries, two brief periods of independence occurred during the 20th century, once near the end of World War I and another during World War II. Before its independence, Ukraine was typically referred to in English as The Ukraine, following independence, Ukraine declared itself a neutral state. Nonetheless it formed a limited partnership with the Russian Federation and other CIS countries. In the 2000s, the government began leaning towards NATO, and it was later agreed that the question of joining NATO should be answered by a national referendum at some point in the future. Former President Viktor Yanukovych considered the current level of co-operation between Ukraine and NATO sufficient, and was against Ukraine joining NATO and these events formed the background for the annexation of Crimea by Russia in March 2014, and the War in Donbass in April 2014. On 1 January 2016, Ukraine applied the economic part of the Deep, Ukraine has long been a global breadbasket because of its extensive, fertile farmlands and is one of the worlds largest grain exporters. The diversified economy of Ukraine includes a heavy industry sector, particularly in aerospace. Ukraine is a republic under a semi-presidential system with separate powers, legislative, executive. Its capital and largest city is Kiev, taking into account reserves and paramilitary personnel, Ukraine maintains the second-largest military in Europe after that of Russia. Ukrainian is the language and its alphabet is Cyrillic. The dominant religion in the country is Eastern Orthodoxy, which has strongly influenced Ukrainian architecture, literature, there are different hypotheses as to the etymology of the name Ukraine. According to the older and most widespread hypothesis, it means borderland, while more recently some studies claim a different meaning, homeland or region. The Ukraine now implies disregard for the sovereignty, according to U. S. ambassador William Taylor. Neanderthal settlement in Ukraine is seen in the Molodova archaeological sites include a mammoth bone dwelling
Ukraine
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Gold
Scythian pectoral, or neckpiece, from a royal
kurgan in
Ordzhonikidze, dated to the 4th century BC
Ukraine
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Flag
Ukraine
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Principalities of
Kievan Rus', 1054-1132
Ukraine
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The baptism of the Grand Prince Vladimir led to the adoption of Christianity in
Kievan Rus'.
14.
Serhiy Svetoslavsky
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Serhiy Svetoslavsky was an Ukrainian and Russian landscape painter, most notable for his cityscapes. Between 1875 and 1883 he studied painting at the Moscow School of Painting, from 1884, he participated in the exhibitions of the Peredvizhniki group, a realist movement in Russian art, and he formally joined the group in 1891. Pavel Tretyakov, an art collector who later founded the Tretyakov Gallery in Moscow, in 1889 he made a journey to Central Asia. Between 1890 and 1894 Svetoslavsky was married and lived in Moscow, after his divorce he settled in Kiev, living with his mother. The early landscapes of Svetoslavsky, mostly cityscapes, are made in grey and brown colors. After his return to Ukraine, brighter colors started to proliferate and he was interested mostly in cityscapes of Kiev and in rural landscapes of the surroundings of the city. One of his topics was the Dnieper River. Since 1910 Svetoslavsky suffered from an eye disease that forced him to stop painting. In 1911-1914 Svetoslavsky was a member of a committee for erection of monument to Taras Shevchenko in Kiev. For many years Svetoslavsky was a supporter of Kiev Zoo. In 1909 Svetoslavsky persuaded his friend and art supporter Pavel Tretyakov to make large donation for the newly established Zoo, in 1910 Svetoslavsky sold his estate and organized a large expedition to Central Asia to catch animals for Kiev Zoo. Soon a significant part of the Zoo collection were animals caught by Svetoslavskys expedition, viktor Vasnetsov used Svetoslavsky as a model for the image of Moses in the Saint Vladimirs Cathedral in Kiev
Serhiy Svetoslavsky
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Serhiy Svetoslavsky View from a window of the
Moscow School of Painting, Sculpture and Architecture, 1878
Serhiy Svetoslavsky
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Serhiy Svetoslavsky A ferry over the Dnieper, the 1900s,
National Art Museum of Ukraine, Kiev
15.
Alexander Bogomazov
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Alexander Bogomazov or Oleksandr Bohomazov was a Ukrainian painter, known artist and modern art theoretician of the Russian Avant-garde. In 1914, Alexander wrote his treatise The Art of Painting, in it he analyzed the interaction between Object, Artist, Picture, and Spectator and sets the theoretical foundation of modern art. During his artistic life Alexander Bogomazov mastered several art styles, the most known are Cubo-Futurism and Spectralism. Alexander Bogomazov was born in Yampol, Kharkov Governorate, as a child to Konstantin Bogomazov. His mother Anisia abandoned the family shorty after his baptism and his ethnic background was Russian, yet Alexander spent virtually all his life in Kiev. From 1896 to 1902, Aleksander Bogomazov attended the Institute for Agriculture in Kherson, from 1902 to 1905, he attended the Kiev Art School, at the same time he had close contact with Alexander Archipenko and Aleksandra Ekster. In 1905, he participated in demonstrations and strikes. In the same year he was expelled from the Kiev Art School, in 1906, he studied in the studio of S. Swiatoslavskiy. Bogomazov had an exhibition in Kiev, together with Archipenko and that year he moved to Moscow and became the student of Fyodor Rerberg and Konstantin Yuon. In 1907, he returned to Kiev, after 1907, he had regular exhibitions in Kiev, including the Association of Russian Artists and the Moscow Society of Independent Artists. In 1908, he participated in the exhibition with the group of artists Zveno in Kiev together with David Burliuk, Wladimir Burliuk, Aleksandra Ekster, in 1911, he journeyed to Finland. From 1912 to 1915, he taught at a school for the deaf, from 1913 to 1914, he studied the works of the Italian Futurists. At this time he developed art theories, and published his essay The Art of Painting, in 1914, he organized the exhibition Kiltse in Kiev, together with Aleksandra Ekster, Eugène Konopatzky among others. In 1915, Bogomazov moved to the Caucasus, where he worked as a teacher and painter, in 1919, he taught at the First State Studio for Paintings and Decorative art in Kiev. From 1919 to 1920, he was the Head of the Department for Art Education in the Ukrainian Commissariat for Visual Art, at the same time he was the co-founder of the Ukrainian Agitprop Movement, and created designs for the Agitprom movement. From 1922 to 1930, he taught at the Kiev Art Academy together with Vadim Meller, Vladimir Tatlin, Victor Palmov. In 1927, he was a member of the Association of the Revolutionary Masters of Ukraine, together with D. Burliuk, V. Meller, V. Palmov, V. Yermilov. In the same year, he participated in the All-Ukrainian Exhibition Ten years October, together with Tatlin, Meller, Palmov, Alexander Bogomazov died on June 3,1930 in Kiev
Alexander Bogomazov
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Self-portrait (1911)
Alexander Bogomazov
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"Composition N2." 1914-1915.
M.T. Abraham Foundation.
Alexander Bogomazov
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"Fire in Kiev." 1916. Paper, charcoal. 27х32 sm.
National Art Museum of Ukraine (NAMU),
Kiev
Alexander Bogomazov
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"Stropping the saws." 1927. Canvas, oil
16.
Moscow
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Moscow is the capital and most populous city of Russia, with 13.2 million residents within the city limits and 17.8 million within the urban area. Moscow has the status of a Russian federal city, Moscow is a major political, economic, cultural, and scientific center of Russia and Eastern Europe, as well as the largest city entirely on the European continent. Moscow is the northernmost and coldest megacity and metropolis on Earth and it is home to the Ostankino Tower, the tallest free standing structure in Europe, the Federation Tower, the tallest skyscraper in Europe, and the Moscow International Business Center. Moscow is situated on the Moskva River in the Central Federal District of European Russia, the city is well known for its architecture, particularly its historic buildings such as Saint Basils Cathedral with its brightly colored domes. Moscow is the seat of power of the Government of Russia, being the site of the Moscow Kremlin, the Moscow Kremlin and Red Square are also one of several World Heritage Sites in the city. Both chambers of the Russian parliament also sit in the city and it is recognized as one of the citys landmarks due to the rich architecture of its 200 stations. In old Russian the word also meant a church administrative district. The demonym for a Moscow resident is москвич for male or москвичка for female, the name of the city is thought to be derived from the name of the Moskva River. There have been proposed several theories of the origin of the name of the river and its cognates include Russian, музга, muzga pool, puddle, Lithuanian, mazgoti and Latvian, mazgāt to wash, Sanskrit, majjati to drown, Latin, mergō to dip, immerse. There exist as well similar place names in Poland like Mozgawa, the original Old Russian form of the name is reconstructed as *Москы, *Mosky, hence it was one of a few Slavic ū-stem nouns. From the latter forms came the modern Russian name Москва, Moskva, in a similar manner the Latin name Moscovia has been formed, later it became a colloquial name for Russia used in Western Europe in the 16th–17th centuries. From it as well came English Muscovy, various other theories, having little or no scientific ground, are now largely rejected by contemporary linguists. The surface similarity of the name Russia with Rosh, an obscure biblical tribe or country, the oldest evidence of humans on the territory of Moscow dates from the Neolithic. Within the modern bounds of the city other late evidence was discovered, on the territory of the Kremlin, Sparrow Hills, Setun River and Kuntsevskiy forest park, etc. The earliest East Slavic tribes recorded as having expanded to the upper Volga in the 9th to 10th centuries are the Vyatichi and Krivichi, the Moskva River was incorporated as part of Rostov-Suzdal into the Kievan Rus in the 11th century. By AD1100, a settlement had appeared on the mouth of the Neglinnaya River. The first known reference to Moscow dates from 1147 as a place of Yuri Dolgoruky. At the time it was a town on the western border of Vladimir-Suzdal Principality
Moscow
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Left to right, top to bottom:
Moscow State University,
Spasskaya Clocktower,
Cathedral of Christ the Saviour;
Bolshoi Theatre,
Moscow International Business Center;
Red Square
Moscow
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Tatar raid upon Moscow
Moscow
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Map of Moscow, 1784
Moscow
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Red Square, painting by
Fedor Alekseev, 1801
17.
Paris
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Paris is the capital and most populous city of France. It has an area of 105 square kilometres and a population of 2,229,621 in 2013 within its administrative limits, the agglomeration has grown well beyond the citys administrative limits. By the 17th century, Paris was one of Europes major centres of finance, commerce, fashion, science, and the arts, and it retains that position still today. The aire urbaine de Paris, a measure of area, spans most of the Île-de-France region and has a population of 12,405,426. It is therefore the second largest metropolitan area in the European Union after London, the Metropole of Grand Paris was created in 2016, combining the commune and its nearest suburbs into a single area for economic and environmental co-operation. Grand Paris covers 814 square kilometres and has a population of 7 million persons, the Paris Region had a GDP of €624 billion in 2012, accounting for 30.0 percent of the GDP of France and ranking it as one of the wealthiest regions in Europe. The city is also a rail, highway, and air-transport hub served by two international airports, Paris-Charles de Gaulle and Paris-Orly. Opened in 1900, the subway system, the Paris Métro. It is the second busiest metro system in Europe after Moscow Metro, notably, Paris Gare du Nord is the busiest railway station in the world outside of Japan, with 262 millions passengers in 2015. In 2015, Paris received 22.2 million visitors, making it one of the top tourist destinations. The association football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris, the 80, 000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros, Paris hosted the 1900 and 1924 Summer Olympics and is bidding to host the 2024 Summer Olympics. The name Paris is derived from its inhabitants, the Celtic Parisii tribe. Thus, though written the same, the name is not related to the Paris of Greek mythology. In the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps, since the late 19th century, Paris has also been known as Panam in French slang. Inhabitants are known in English as Parisians and in French as Parisiens and they are also pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the areas major north-south trade routes crossed the Seine on the île de la Cité, this place of land and water trade routes gradually became a town
Paris
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In the 1860s Paris streets and monuments were illuminated by 56,000 gas lamps, making it literally "The City of Light."
Paris
Paris
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Gold coins minted by the Parisii (1st century BC)
Paris
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The
Palais de la Cité and
Sainte-Chapelle, viewed from the Left Bank, from the
Très Riches Heures du duc de Berry (month of June) (1410)
18.
La Ruche
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La Ruche was an artists residence in the Montparnasse district of Paris. As well as to artists, La Ruche became a home to the array of drunks, misfits. At La Ruche the rent was cheap, and no one was evicted for non-payment. When hungry, many would wander over to artist Marie Vassilieffs soup kitchen for a meal, the Russian painter Pinchus Kremegne got off the train at the Gare de lEst with three rubles in his pocket. The only words in French he knew was the phrase Passage Dantzig, in the history of mankind, like Montparnasse or Montmartre, few places have ever housed such artistic talent as could be found at La Ruche. Today, works by some of these desperately poor residents and their friends sell well. La Ruche went into decline during World War II, and by the time of the 1968 real estate boom and its interior is not open to the general public, although the exterior of La Ruche alone is worth a visit. Paintings, sculptures, photographs from its heyday and films showing some of its residents may be viewed at the Musée du Montparnasse,21 av du Maine, another Wild-Goose Chase – No Sign of the Beehive Guillaume, Françoise and Modigliani at La Ruche – Adventures In Montparnasse
La Ruche
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La Ruche, c.1918
La Ruche
19.
Vladimir Baranov-Rossine
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Wladimir Davidovich Baranoff-Rossine was a Ukrainian, Russian and French painter, avant-garde artist, and inventor. Wladimir Baranoff-Rossine was born in Kherson, Ukraine, in 1902 he studied at the School of the Society for the Furthering of the Arts in St. Petersburg. From 1903 to 1907 he attended the Imperial Academy of Arts in St. Petersburg, in 1908 he exhibited with the group Zveno in Kiev organized by the artist David Burliuk and his brother Wladimir Burliuk. In 1910 he moved to Paris, where until 1914 he was a resident in the artists colony La Ruche together with Alexander Archipenko, Sonia Delaunay-Terk, Nathan Altman and he exhibited regularly in Paris after 1911. He returned to Russia in 1914, in 1916 he had a solo exhibition in Oslo. In 1918 he had exhibits with the union of artists Mir Iskusstva in Petrograd, in the same year he had an exhibition with the group Jewish Society for the Furthering of the Arts in Moscow, together with Nathan Altman, El Lissitzky and David Shterenberg. He participated at the First State Free Art Exhibition in Petrograd in 1919, in 1922 Baranoff-Rossine was the teacher at the Higher Artistic-Technical Workshops in Moscow. In 1925 he emigrated to France, continuously experimenting, Baranoff-Rossine applied the art of colour to military art with the technique of camouflage or the Cameleon process and this was marketed with Robert Delaunay. Baranov-Rossine is credited as an author of pointillist or dynamic military camouflage and he also invented a photochromometer that allowed the determination of the qualities of precious stones. In another field, he perfected a machine made, sterlized and distributed fizzy drinks, the Multiperco. During the German occupation Baranoff-Rossine was deported to a German concentration camp, list of Russian artists Website dedicated to Wladimir Baranoff-Rossine A web-site including his invention of the Optophonic Piano
Vladimir Baranov-Rossine
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Self-Portrait, oil on canvas, 75 x 50 cm. Private collection, Paris.
20.
Sonia Delaunay
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Her work extends to painting, textile design and stage set design. She was the first living female artist to have an exhibition at the Louvre in 1964. Her work in modern design included the concepts of abstraction, the integration of furniture, fabrics, wall coverings. Sarah Ilinitchna Stern was probably born on 14 November 1885 in Hradyzk, then Ukraine was part of the Russian Empire and her father was foreman of a nail factory. At a young age she moved to St. Petersburg, where she was cared for by her mothers brother, Henri, a successful and affluent Jewish lawyer, and his wife Anna wanted to adopt her but her mother would not allow it. Finally in 1890 she was adopted by the Terks and she assumed the name Sonia Terk and received a privileged upbringing with the Terks. They spent their summers in Finland and traveled widely in Europe introducing Sonia to art museums, when she was 16 she attended a well-regarded secondary school in St. Petersburg, where her skill at drawing was noted by her teacher. When she was 18, at her teachers suggestion, she was sent to art school in Germany where she attended the Academy of Fine Arts in Karlsruhe and she studied in Germany until 1905 when she decided to move on to Paris. When she arrived in Paris she enrolled at the Académie de La Palette in Montparnasse, unhappy with the mode of teaching, which she thought was too critical, she spent less time at the Académie and more time in galleries around Paris. During her first year in Paris she met, and in 1908 married, German art gallery owner Wilhelm Uhde. Little is known about their union, but it is assumed to have been a marriage of convenience to escape the demands of her parents, who disliked her artistic career, for her to return to Russia. Sonia gained entrance into the art world via exhibitions at Uhdes gallery and benefitted from his connections, comtesse de Rose, mother of Robert Delaunay, was a regular visitor to Uhdes gallery, sometimes accompanied by her son. Sonia met Robert Delaunay in early 1909 and they became lovers in April of that year and it was decided that she and Uhde should divorce. The divorce was finalised in August 1910, Sonia was pregnant and she and Robert married on November 15,1910. Their son Charles was born on January 18,1911 and they were supported by an allowance sent from Sonias aunt in St. Petersburg. Sonia said about Robert, In Robert Delaunay I found a poet, a poet who wrote not with words but with colours. In 1911, Sonia Delaunay made a quilt for Charless crib. This quilt was created spontaneously and uses geometry and colour, about 1911 I had the idea of making for my son, who had just been born, a blanket composed of bits of fabric like those I had seen in the houses of Ukrainian peasants
Sonia Delaunay
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Sonia Terk, 1901
Sonia Delaunay
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Sonia Delaunay, Rythme, 1938, oil on canvas, 182 x 149 cm,
Musée National d'Art Moderne,
Centre Pompidou, Paris
Sonia Delaunay
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The last section of
La prose du Transsibérien et de la Petite Jehanne de France, 1913
Sonia Delaunay
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Sonia Delaunay by
Lothar Wolleh, 1978
21.
Nathan Altman
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Nathan Isaevich Altman was a Jewish, Russian and Soviet avant-garde artist, Cubist painter, stage designer and book illustrator. He was born in Vinnytsia, in the Podolia Governorate of the Russian Empire to a family of Jewish merchants, from 1902 to 1907, he studied painting and sculpture at the Art College in Odessa. In 1906, he had his first exhibition in Odessa, in 1910, he went to Paris, where he stayed for one year. He studied at the Free Russian Academy in Paris, working in the studio of Wladimir Baranoff-Rossine, and had contact with Marc Chagall, Alexander Archipenko, in 1910, he became a member of the group Soyuz Molodyozhi. In 1912, Altman moved to Saint Petersburg and his famous Portrait of Anna Akhmatova, conceived in Cubist style, was painted in 1914. From 1915 to 1917, Nathan Altman was the teacher at Mikhail Bernsteins private art school, after 1916 he started to work as a stage designer. In 1918, he was the member of the Board for Artistic Matters within the Department of Fine Arts of the Peoples Commissariat of Enlightenment together with Malevich, Baranoff-Rossine and Shevchenko. In the same year he had an exhibition with the group Jewish Society for the Furthering of the Arts in Moscow, together with Wladimir Baranoff-Rossine, El Lissitzky and the others. In this same year, he installed a work of architectural sculpture in Palace Square to commemorate the 1st anniversary of the October Revolution. The canvas was cut up and used for soldiers foot bindings. In 1920, he became a member of the Institute for Artistic Culture, together with Kasimir Malevich, Vladimir Tatlin, in the same year, he participated in the exhibition From Impressionism to Cubism in the Museum of Painterly Culture in Petrograd. In 1921, he moved to Moscow, from 1921 to 1922 he was director of the Museum of Painterly Culture in Petrograd. From 1920 to 1928, he worked on designs for the Habimah Theatre. In 1923 a volume of his Jewish graphic art, Evrejskaja grafika Natana Altmana and his first solo exhibition in Leningrad was in 1926. Altman moved to Paris in 1928, in 1936, he returned to Leningrad. He worked mainly for the theatre, as a book illustrator, Nathan Altman died in Leningrad aged 81. Oil on canvas mounted on cardboard, the Russian Museum, St. Petersburg, Russia. The Russian Museum, St. Petersburg, Russia, the Russian Museum, St. Petersburg, Russia Portrait of a Young Jew
Nathan Altman
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Self-portrait (1911)
Nathan Altman
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Portrait of Anna Akhmatova (1914), Oil on canvas. In the collection of the State Russian Museum.
Nathan Altman
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Woman at the Piano (1914)
22.
Aleksandra Ekster
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She was born Aleksandra Aleksandrovna Grigorovich in Białystok, in the Grodno Governorate of the Russian Empire to a wealthy Belarusian family. Her father, Aleksandr Grigorovich, was a wealthy Belarusian businessman, young Aleksandra received an excellent private education, studying languages, music, art, and taking private drawing lessons. Soon her parents moved to Kyiv, and Asya, as called by her friends, attended Kiev gymnasium St. Olga and Kiev Art School, Aleksandra graduated in painting from Kiev Art School in 1906. In 1908, Aleksandra Grigorovich married a successful Kiev lawyer, Nikolai Evgenyevich Ekster, the Eksters belonged to cultural and intellectual elite of Kiev. She spent several months with her husband in Paris, and there she attended Académie de la Grande Chaumière in Montparnasse, from 1908 to 1924 she intermittently lived in Kiev, St. Petersburg, Odessa, Paris, Rome and Moscow. In 1908 she participated in an exhibition together with members of the group Zveno organized by David Burliuk, Wladimir Burliuk, in Paris, Aleksandra Ekster was a personal friend of Pablo Picasso and Georges Braque, who introduced her to Gertrude Stein. She exhibited six works at the Salon de la Section dOr, Galerie La Boétie, Paris, October 1912, with Jean Metzinger, Albert Gleizes, Marcel Duchamp and others. In that same year she participated with the “Russians” Archipenko, Koulbine, in 1915 she joined the group of avant-garde artists Supremus. Her friend introduced her to the poet Apollinaire, who took her to Picassos workshop, according to Moscow Chamber Theatre actress Alice Coonen, In Parisian household there was a conspicuous peculiar combination of European culture with Ukrainian life. On the walls between Picasso and Braque paintings there was Ukrainian embroidery, on the floor was a Ukrainian carpet, at the table they served clay pots, colorful majolica plates of dumplings. Under the avant-guard umbrella, Ekster has been noted to be a suprematist and constructivist painter as well as an influencer of the Art Deco movement. While not confined within a movement, Exter was one of the most experimental women of the avant-garde. Ekster absorbed from many sources and cultures in order to develop her own original style, Ekster later founded a teaching and production workshop in Kiev. Vadym Meller, Anatol Petrytsky, Kliment Redko, Tchelitchew, Shifrin, Nikritin worked there, also during this period she was one of the leading stage designers of Alexander Tairovs Chamber Theatre. In 1919 together with other avant-garde artists Kliment Redko and Nina Genke-Meller she decorated the streets and squares of Kiev and she worked with Vadym Meller as a costume designer in a ballet studio of the dancer Bronislava Nijinska. In 1921 she became a director of the elementary course Color at the Higher Artistic-Technical Workshop in Moscow and her work was displayed alongside that of other Constructivist artists at the 5x5=25 exhibition held in Moscow in 1921. In line with her eclectic avant-guard-like style, Ekster’s early paintings strongly influenced her design as well as her book illustrations. All of Ekster’s works, no matter the medium, stick to her distinct style and her works are vibrant, playful, dramatic, and theatrical in composition, subject matter, and color
Aleksandra Ekster
–
Aleksandra Aleksandrovna Ekster
Aleksandra Ekster
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Theatre curtain designed by Ekster.
Aleksandra Ekster
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Costumes designed by Ekster.
Aleksandra Ekster
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Costume design for Romeo and Juliette. 1921.
M.T. Abraham Foundation.
23.
Kazimir Malevich
–
Kazimir Severinovich Malevich was a Russian painter and art theoretician. He was a pioneer of abstract art and the originator of the avant-garde Suprematist movement. He was a devout Christian mystic who believed the central task of an artist was that of rendering spiritual feeling, Kazimir Malevich was born Kazimierz Malewicz to a Polish family, who settled near Kiev in Kiev Governorate of the Russian Empire during the partitions of Poland. His parents, Ludwika and Seweryn Malewicz, were Roman Catholic like most ethnic Poles and they both had fled from the former eastern territories of the Commonwealth to Kiev in the aftermath of the failed Polish January Uprising of 1863 against the tsarist army. His native language was Polish though he spoke Ukrainian in public, subsequently, Malevich even wrote a series of articles about art in Ukrainian. Kazimirs father managed a sugar factory, Kazimir was the first of fourteen children, only nine of whom survived into adulthood. His family moved often and he spent most of his childhood in the villages of Ukraine, amidst sugar-beet plantations, until age twelve he knew nothing of professional artists, although art had surrounded him in childhood. He delighted in peasant embroidery, and in decorated walls and stoves and he was able to paint in the peasant style. He studied drawing in Kiev from 1895 to 1896, from 1896 to 1904 Kazimir Malevich lived in Kursk. In 1904, after the death of his father, he moved to Moscow and he studied at the Moscow School of Painting, Sculpture, and Architecture from 1904 to 1910 and in the studio of Fedor Rerberg in Moscow. In the same year he participated in an exhibition by the collective, by that time his works were influenced by Natalia Goncharova and Mikhail Larionov, Russian avant-garde painters, who were particularly interested in Russian folk art called lubok. Malevich described himself as painting in a Cubo-Futuristic style in 1912, in March 1913 a major exhibition of Aristarkh Lentulovs paintings opened in Moscow. Already in the year the Cubo-Futurist opera, Victory Over the Sun, with Malevichs stage-set. In 1914 Malevich exhibited his works in the Salon des Indépendants in Paris together with Alexander Archipenko, Sonia Delaunay, Aleksandra Ekster, Malevich also co-illustrated, with Pavel Filonov, Selected Poems with Postscript, 1907–1914 by Velimir Khlebnikov and another work by Khlebnikov in 1914 titled Roar. In 1915, Malevich laid down the foundations of Suprematism when he published his manifesto, in 1915–1916 he worked with other Suprematist artists in a peasant/artisan co-operative in Skoptsi and Verbovka village. In 1916–1917 he participated in exhibitions of the Jack of Diamonds group in Moscow together with Nathan Altman, David Burliuk, Aleksandra Ekster, famous examples of his Suprematist works include Black Square and White On White. Malevich exhibited his first Black Square, now at the Tretyakov Gallery in Moscow, a black square placed against the sun appeared for the first time in the 1913 scenery designs for the Futurist opera Victory over the Sun. The second Black Square was painted around 1923, some believe that the third Black Square was painted in 1929 for Malevichs solo exhibition, because of the poor condition of the 1915 square
Kazimir Malevich
–
Self-portrait, 1912
Kazimir Malevich
–
Black Square, 1915, oil on linen, 79.5 x 79.5 cm,
Tretyakov Gallery,
Moscow
Kazimir Malevich
–
Suprematist Composition:
White on White, 1918,
Museum of Modern Art, New York
Kazimir Malevich
–
A section of Suprematist works by Kazimir Malevich exhibited at the
0.10 Exhibition, Petrograd, 1915
24.
Vadym Meller
–
Vadym Meller or Vadim Meller, was a Ukrainian-Russian Soviet painter, avant-garde Cubist, Constructivist and Expressionist artist, theatrical designer, book illustrator, and architect. In 1925, he was the first artist to be awarded a medal in the Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris. Vadim Meller was born in Saint-Petersburg and he was the second son of a top official in the Ministry of Justice in the Russian Empire. His father, George Meller, was a noble-born Swede, his mother, Helena Caruso, was half Italian and half Greek, from 1903–1908, Meller studied at Kiev University. In 1905, he visited Geneva, Switzerland, where he took art lessons at the school of Franz Roubaud. In 1908, with the recommendation of Roubaud, he continued his education at the art school of drawing and painting of Heinrich Knirr in Munich. There, Meller met fellow student, Paul Klee, who introduced him to Der Blaue Reiter group, after graduating from the Kiev University with a degree in law, he acquired an artistic education in the Munich Academy of Fine Arts from 1908–1912. V. Meller stayed in contact with Der Blaue Reiter group. During this time, he also met Wassily Kandinsky, with whom he became friends, V. Meller started to exhibit his works after moving to Paris, where he joined the Société des Artistes Indépendants. At the same time Vadim Meller was a student of Antoine Bourdelle. After returning to Kiev in 1915, he worked at easel and monumental painting, graphic design and his transition to scenography as his main field of artistic activity took place in the post-revolutionary years. From 1918–1921, he worked with scenographer and dancer Bronislava Nijinska in her ballet studio, in end of this period he became a professor in The National Academy of Fine Arts and Architecture. In 1922, Les Kurbas invited V. Meller to the recently founded Berezil theater, in 1925, V. Meller, together with Sonia Terk, Alexandra Exter, and Nathan Altman, participated in Exposition Internationale des Modernes in Paris. There, Meller was awarded a medal for his scenic design of the Berezil theater. That same year, V. Meller participated in the International Theater Exposition in New York, V. Meller became the leader of the Constructivism movement in Ukrainian theater design. He worked in the National theater as a chief artist until 1945, from 1925 onward, he also taught at the Kyiv Art Institute together with Vladimir Tatlin and Alexander Bogomazov. In 1928 Vadim Meller participated in the International Press Exhibition Pressa Cologne, together with El Lissitzky, Aleksandr Tyshler, Vadym Mellers Expressive Constructivism, Olga Petrova, pp. 5–32, Catalog, an Exhibition Avant-Garde Adventures, National Art Museum of Ukraine, Kiev, Ukraine,2004. Vadym Meller, Missionary of Avant-Garde Scenic Design, Tetiana Rudenko, pp 46–68, book Staging the Ukrainian Avant-Garde of the 1910s and 1920s, Ukrainian Museum, New York, Vadim Meller, Zoya Kucherenko, Mistetstvo, Kiev,1975. Modernism in Kyiv, Jubilant Experimentation, pp 3,5,11,219,229,257,264,299,415,426,430,492,497,501, the World Encyclopedia of Contemporary Theatre
Vadym Meller
–
Sketch of the decoration to the performance Hello, on the wave 477 (1929)
25.
Georges Braque
–
Georges Braque was a major 20th-century French painter, collagist, draughtsman, printmaker and sculptor. His most important contributions to the history of art were in his alliance with Fauvism from 1906, braque’s work between 1908 and 1912 is closely associated with that of his colleague Pablo Picasso. Their respective Cubist works were indistinguishable for many years, yet the quiet nature of Braque was partially eclipsed by the fame, georges Braque was born on 13 May 1882 in Argenteuil, Val-dOise. He grew up in Le Havre and trained to be a house painter, however, he also studied artistic painting during evenings at the École des Beaux-Arts, in Le Havre, from about 1897 to 1899. In Paris, he apprenticed with a decorator and was awarded his certificate in 1902, the next year, he attended the Académie Humbert, also in Paris, and painted there until 1904. It was here that he met Marie Laurencin and Francis Picabia, Braques earliest works were impressionistic, but after seeing the work exhibited by the artistic group known as the Fauves in 1905, he adopted a Fauvist style. The Fauves, a group that included Henri Matisse and André Derain among others, Braque worked most closely with the artists Raoul Dufy and Othon Friesz, who shared Braques hometown of Le Havre, to develop a somewhat more subdued Fauvist style. In 1906, Braque traveled with Friesz to LEstaque, to Antwerp, in May 1907, he successfully exhibited works of the Fauve style in the Salon des Indépendants. The 1907 Cézanne retrospective at the Salon dAutomne greatly affected the artists of Paris. Braques paintings of 1908–1912 reflected his new interest in geometry and simultaneous perspective and he showed this in the painting Houses at lEstaque. Beginning in 1909, Braque began to work closely with Pablo Picasso who had been developing a similar proto-Cubist style of painting. At the time, Pablo Picasso was influenced by Gauguin, Cézanne, African masks, Picasso celebrates animation, while Braque celebrates contemplation. Thus, the invention of Cubism was a joint effort between Picasso and Braque, then residents of Montmartre, Paris and these artists were the styles main innovators. After meeting in October or November 1907, Braque and Picasso, in particular, both artists produced paintings of monochromatic color and complex patterns of faceted form, now termed Analytic Cubism. In 1912, they began to experiment with collage and Braque invented the papier collé technique, French art critic Louis Vauxcelles used the terms bizarre cubiques in 1908 after seeing a picture by Braque. He described it as full of little cubes, the term Cubism, first pronounced in 1911 with reference to artists exhibiting at the Salon des Indépendants, quickly gained wide use but Picasso and Braque did not adopt it initially. Art historian Ernst Gombrich described Cubism as the most radical attempt to stamp out ambiguity and to one reading of the picture—that of a man-made construction. The Cubist style spread quickly throughout Paris and then Europe, the two artists productive collaboration continued and they worked closely together until the beginning of World War I in 1914, when Braque enlisted with the French Army
Georges Braque
–
Georges Braque, 1908, photograph published in
Gelett Burgess, The Wild Men of Paris, Architectural Record, May 1910
Georges Braque
–
Georges Braque, 1906, L'Olivier près de l'Estaque (The Olive tree near l'Estaque). At least four versions of this scene were painted by Braque, one of which was stolen from the
Musée d'Art Moderne de la Ville de Paris during the month of May, 2010.
Georges Braque
–
Georges Braque, 1907-08, The Viaduct at L'Estaque (Le Viaduc de l'Estaque), oil on canvas, 65.1 x 80.6 cm,
Minneapolis Institute of Arts
Georges Braque
–
Georges Braque, 1908, Maisons et arbre (
Houses at l'Estaque), oil on canvas, 40.5 x 32.5 cm,
Lille Métropole Museum of Modern, Contemporary and Outsider Art
26.
Karl Ernst Osthaus-Museum
–
The Karl Ernst Osthaus-Museum is an art museum in Hagen, North Rhine-Westphalia, Germany. The center of the museum is a building whose interior was designed by Henry van de Velde to house Karl Ernst Osthaus art collection, when Osthaus heirs sold his art collection to the city of Essen, the city of Hagen gained possession of the empty museum building. For a time it served as offices for the electric company. After World War II, the new director of Hagens city art museum, Herta Hesse, under her direction, the museum focused on recapturing what the city had lost when the Folkwang collection was sold to Essen. The museum became a focus for exhibits of art nouveau and expressionist art, under Michael Fehr, the Karl Ernst Osthaus-Museum adopted a more playful attitude toward local history. Large installations created sensations in the city, and numerous works poke fun at Hagens inability to transcend the Osthaus past, the painting collection stems from private donations and gradual purchases. It houses one of the collections of paintings by Christian Rohlfs. Other notable works on exhibit include environmental art by Herman de Vries, the Karl Ernst Osthaus-Museum also houses the Karl Ernst Osthaus-Archive, a major depository of documents relating to the Folkwang Museum and early 20th century avant garde art and architecture
Karl Ernst Osthaus-Museum
–
Entrance hall of the villa
27.
Hagen
–
Hagen is the 41st-largest city in Germany. The municipality is located in the state of North Rhine-Westphalia and it is located on the south eastern edge of the Ruhr area,15 km south of Dortmund, where the rivers Lenne and Volme meet the river Ruhr. As of 31 December 2010, the population was 188,529, the city is home to the FernUniversität Hagen, which is the only state funded distance education university in Germany. Counting more than 67,000 students, it is the largest university in Germany, Hagen was first mentioned c.1200, presumably the name of a farm at the junction of the Volme and the Ennepe. After the conquest of Burg Volmarstein in 1324, Hagen passed to the County of Mark, in 1614 it was awarded to the Margraviate of Brandenburg according to the Treaty of Xanten. In 1701 it became part of the Kingdom of Prussia, after the defeat of Prussia in the Fourth Coalition, Hagen was incorporated into the Grand Duchy of Berg from 1807–13. In 1815 it became part of the new Prussian Province of Westphalia, the growth of the city began in the 19th century with the mining of coal and the production of steel in the Ruhr Area. Hagen was the scene of fighting during the Ruhr Uprising,13 March -2 April 1920 and has a monument to the Ruhr Red Army, in 1928, Hagen developed into a city of more than 100,000 inhabitants. During World War II, Hagen was bombed repeatedly, by both the Royal Air Force and the Eighth Air Force, on the night of 1 October 1943,243 Lancasters and 8 Mosquitoes from the Royal Air Forces Bomber Command attacked the city. According to the Bomber Command Campaign Diary, This raid was a complete success achieved on a completely cloud-covered target of small size, with only a moderate bomber effort, Hagen sustained severe damage from that raid, and hundreds of civilians were killed. After World War II, the became part of the new state of North Rhine-Westphalia. Owing to the use of water power along the rivers Ruhr, Lenne, Volme and Ennepe, metal processing played an important role in the region of Hagen in. In the 17th and 18th century, textile and steel industries as well as paper production followed, Hagen is the home of the Suedwestfaelische Industrie- und Handelskammer, as well as Sparkasse Hagen, the local municipal savings bank. The banks former headquarters, the Sparkasse Hagen tower, was a landmark until its demolition in 2004. The city is heavily indebted and in the process of cutting city services in order to balance its budget and it is located near the Hagen community of Eilpe. The Historisches Centrum Hagen includes the city museum and Werdringen castle, in the Blätterhöhle cave in Hagen the oldest fossils of modern people in Westphalia and the Ruhr were found. Some date back to the early Mesolithic,10,700 years B. C and it seems that the descendants of Mesolithic people in this area maintained a foraging lifestyle for more than 2000 years after the arrival of farming societies. Some localities of Hagen, Hagen-Dahl Hagen-Emst Hagen-Priorei Hagen-Rummenohl Hagen-Halden The following table shows the largest foreign resident groups in the city of Hagen, schulz The Autobahnen A1, A45 and A46 touch Hagen
Hagen
–
Old Town Hall (right) and Square. In the center the Volme Galerie (City Mall).
Hagen
–
Hengsteysee
Hagen
–
Panoramic view of Hagen (taken from urban forest of Hagen)
Hagen
–
Half-timbered houses "Lange Riege" (17th century)
28.
Berlin
–
Berlin is the capital and the largest city of Germany as well as one of its constituent 16 states. With a population of approximately 3.5 million, Berlin is the second most populous city proper, due to its location in the European Plain, Berlin is influenced by a temperate seasonal climate. Around one-third of the area is composed of forests, parks, gardens, rivers. Berlin in the 1920s was the third largest municipality in the world, following German reunification in 1990, Berlin once again became the capital of all-Germany. Berlin is a city of culture, politics, media. Its economy is based on high-tech firms and the sector, encompassing a diverse range of creative industries, research facilities, media corporations. Berlin serves as a hub for air and rail traffic and has a highly complex public transportation network. The metropolis is a popular tourist destination, significant industries also include IT, pharmaceuticals, biomedical engineering, clean tech, biotechnology, construction and electronics. Modern Berlin is home to world renowned universities, orchestras, museums and its urban setting has made it a sought-after location for international film productions. The city is known for its festivals, diverse architecture, nightlife, contemporary arts. Since 2000 Berlin has seen the emergence of a cosmopolitan entrepreneurial scene, the name Berlin has its roots in the language of West Slavic inhabitants of the area of todays Berlin, and may be related to the Old Polabian stem berl-/birl-. All German place names ending on -ow, -itz and -in, since the Ber- at the beginning sounds like the German word Bär, a bear appears in the coat of arms of the city. It is therefore a canting arm, the first written records of towns in the area of present-day Berlin date from the late 12th century. Spandau is first mentioned in 1197 and Köpenick in 1209, although these areas did not join Berlin until 1920, the central part of Berlin can be traced back to two towns. Cölln on the Fischerinsel is first mentioned in a 1237 document,1237 is considered the founding date of the city. The two towns over time formed close economic and social ties, and profited from the right on the two important trade routes Via Imperii and from Bruges to Novgorod. In 1307, they formed an alliance with a common external policy, in 1415 Frederick I became the elector of the Margraviate of Brandenburg, which he ruled until 1440. In 1443 Frederick II Irontooth started the construction of a new palace in the twin city Berlin-Cölln
Berlin
Berlin
Berlin
Berlin
29.
Herwarth Walden
–
Herwarth Walden was a German Expressionist artist and art expert in many disciplines. He is broadly acknowledged as one of the most important discoverers and promoters of German avant-garde art in the twentieth century. He studied composition and piano at the academies of Berlin. But his interest embraced all arts, so he became a musician, composer, writer, critic, and gallery owner. He was best known as the founder of the Expressionist magazine Der Sturm and these consisted of a publishing house and journal, founded in 1910, to which he added an art gallery two years later. He discovered, sponsored and promoted young, still unknown artists of different styles and trends, such as the Blaue Reiter. Later some of them very famous, among others, Oskar Kokoschka, Maria Uhden. He also discovered and promoted several poets, notably August Stramm, Otto Nebel, the literary style he espoused became known as Wort-Kunst. From 1901 to 1911 Walden was married to Else Lasker-Schüler, the female representative of German Expressionist poetry. She invented for him the pseudonym Herwarth Walden, inspired by Henry Thoreau’s novel Walden, in 1912 he married Swedish painter Nell Roslund. In 1919 he became a member of the Communist Party, in 1924 he was divorced from his second wife. With the economic depression of the 1930s and the subsequent rise of National Socialism, in 1932 he married again and left Germany shortly later because of the threat of the Gestapo. He went to Moscow, where he worked as a teacher and publisher and his sympathies for the avant-garde soon aroused the suspicion of the Stalinist Soviet government, and he had to repeatedly defend against the equation of avant-garde and fascism. Walden died in October 1941 in a Soviet prison in Saratov and his death was established by the International Tracing Service. Ein Essayist der Moderne, Paleari, Moira, Amsterdamer Beiträge zur neueren Germanistik
Herwarth Walden
–
Pen and ink sketch of Walden by
Emil Orlik
Herwarth Walden
–
Der Sturm for October 1917. Cover art by
Rudolf Bauer
30.
Der Sturm
–
Der Sturm was a German art and literary magazine covering Expressionism, Cubism, Dada and Surrealism, among other artistic movements. It was published between 1910 and 1932, Der Sturm was established in Berlin in 1910 by Herwarth Walden. It ran weekly until monthly in 1914, and became a quarterly in 1924, the magazine modelled on the Italian literary magazine La Voce published in Florence from 1908 to 1916. Der Sturm ceased publication in 1932, Der Sturm consisted of pieces such as expressionistic dramas, artistic portfolios, essays from artists, and theoretical writings on art from Herwarth Walden. The most well-known publications resulting from the magazine were the Sturmbücher, the term Sturm was branded by Walden to represent the way in which modern art was penetrating Germany at the time. Regularly, poems and other texts of French and/or French-speaking expressionists were published and this relationship was renewed after the war despite the hostilities between the two countries caused by the fighting. The magazine also fostered the Galerie Der Sturm, started by Walden to celebrate its 100th edition, the gallery became the focus for Berlins modern art scene for a decade. Despite this, the gallery declined in importance after the war and closed in 1924, accordingly, Walden organized, until 1932, more than 200 exhibitions in its premises in Berlin plus multiple other touring exhibitions in Germany and also in most other major European cities. List of magazines in Germany Die Aktion Proto-Cubism Cubism Orphism
Der Sturm
–
Der Sturm for October 1917. Cover art by
Rudolf Bauer
Der Sturm
–
Jean Metzinger, 1913,
En Canot (Im Boot), oil on canvas, 146 x 114 cm, exhibited at Moderni Umeni,
S.V.U. Mánes, Prague, 1914, acquired in 1916 by
Georg Muche at the Galerie Der Sturm, confiscated by the Nazis circa 1936, displayed at the
Degenerate Art show in Munich, and missing ever since.
Der Sturm
–
Albert Gleizes, study for Femme aux gants noirs, drawing (zeichnung), published on the cover of Der Sturm 5 June 1920
Der Sturm
–
Sonia Delaunay or
Robert Delaunay (or both), 1922, published in Der Sturm, Volume 13, Number 3, 5 March 1922
31.
Jean Metzinger
–
Jean Dominique Antony Metzinger was a major 20th-century French painter, theorist, writer, critic and poet, who along with Albert Gleizes wrote a theoretical work on Cubism. His earliest works, from 1900 to 1904, were influenced by the Neo-impressionism of Georges Seurat, between 1904 and 1907 Metzinger worked in the Divisionist and Fauvist styles with a strong Cézannian component, leading to some of the first proto-Cubist works. From 1908 Metzinger experimented with the faceting of form, a style that would become known as Cubism. His early involvement in Cubism saw him both as an influential artist and an important theorist of the movement. The idea of moving around an object in order to see it from different view-points is treated, for the first time, in Metzingers Note sur la Peinture, before the emergence of Cubism, painters worked from the limiting factor of a single view-point. Jean Metzinger and Albert Gleizes wrote the first major treatise on Cubism in 1912, Metzinger was a founding member of the Section dOr group of artists. During the First World War Metzinger furthered his role as a leading Cubist with his co-founding of the phase of the movement. He recognized the importance of mathematics in art, through a radical geometrization of form as an underlying basis for his wartime compositions. As post-war reconstruction began, a series of exhibitions at Léonce Rosenbergs Galerie de LEffort Moderne were to highlight order, the collective phenomenon of Cubism—now in its advanced revisionist form—became part of a widely discussed development in French culture, with Metzinger at its helm. In terms of the separation of culture and life, this period emerges as the most important in the history of Modernism, for Metzinger, the classical vision had been an incomplete representation of real things, based on an incomplete set of laws, postulates and theorems. He believed the world was dynamic and changing in time, that it appeared different depending on the point of view of the observer, each of these viewpoints were equally valid according to underlying symmetries inherent in nature. Jean Metzinger came from a prominent military family and his great-grandfather, Nicolas Metzinger, Captain in the 1st Horse Artillery Regiment, and Chevalier of the Legion of Honour, had served under Napoleon Bonaparte. A street in the Sixième arrondissement of Nantes was named after Jeans grandfather, Jeans younger brother Maurice would become a musician, excelling as a cellist. By 1900 Jean was a student at Académie Cours Cambronne in Nantes, working under Hippolyte Touront, Metzinger, however, was interested in the current trends in painting. Metzinger sent three paintings to the Salon des Indépendants in 1903, and subsequently moved to Paris with the proceeds from their sale, from the age of 20, Metzinger supported himself as a professional painter. He would show four times at Weills gallery,17 January-1 February 1913, March 1913, June 1914. It is at Berthe Weills that he would meet Max Jacob for the first time, Berthe Weill was also the first Parisian art dealer to sell works of Picasso. Along with Picasso and Metzinger, she helped discover Matisse, Derain, Amedeo Modigliani, in 1904 Metzinger exhibited six paintings in the Divisionist style at the Salon des Indépendants and the Salon d’Automne
Jean Metzinger
–
Metzinger, before 1913
Jean Metzinger
–
Jean Metzinger, 1912,
Danseuse au café (Dancer in a café), oil on canvas, 146.1 x 114.3 cm, Albright-Knox Art Gallery, Buffalo, New York. Published in Au Salon d'Automne "Les Indépendants" 1912, Exhibited at the 1912 Salon d'Automne
Jean Metzinger
–
Jean Metzinger, c.1905,
Baigneuse, Deux nus dans un jardin exotique (Two Nudes in an Exotic Landscape), oil on canvas, 116 x 88.8 cm, Colección Carmen Thyssen-Bornemisza
Jean Metzinger
–
Jean Metzinger, ca. 1906,
Coucher de Soleil No. 1 (Landscape), oil on canvas, 72.5 x 100 cm,
Rijksmuseum Kröller-Müller, Otterlo, Netherlands
32.
Robert Delaunay
–
Robert Delaunay was a French artist who, with his wife Sonia Delaunay and others, cofounded the Orphism art movement, noted for its use of strong colours and geometric shapes. His later works were abstract, reminiscent of Paul Klee. His key influence related to use of colour and a clear love of experimentation with both depth and tone. Robert Delaunay was born in Paris, the son of George Delaunay, while he was a child, Delaunays parents divorced, and he was raised by his mothers sister Marie and her husband Charles Damour, in La Ronchère near Bourges. When he failed his exam and said he wanted to become a painter. At age 19, he left Ronsin to focus entirely on painting and contributed six works to the Salon des Indépendants in 1904. He traveled to Brittany, where he was influenced by the group of Pont-Aven, and, in 1906, he contributed works he painted in Brittany to the 22nd Salon des Indépendants, where he met Henri Rousseau. Delaunay formed a friendship at this time with Jean Metzinger. The two of them were singled out by the art critic Louis Vauxcelles in 1907 as Divisionists who used large, mosaic-like cubes to construct small, Robert Herbert writes, Metzingers Neo-Impressionist period was somewhat longer than that of his close friend Delaunay. The height of his Neo-Impressionist work was in 1906 and 1907, piet Mondrian developed a similar mosaic-like Divisionist technique circa 1909. The Futurists later would incorporate the style, under the influence of Gino Severinis Parisian works, into their dynamic paintings, Delaunay is most closely identified with Orphism. From 1912 to 1914, he painted nonfigurative paintings based on the characteristics of brilliant colors that were so dynamic they would function as the form. Apollinaire was strongly influenced by Delaunay’s theories of color and often quoted from them to explain Orphism, Delaunay’s fixations with color as the expressive and structural means were sustained with his study of color. He believes painting is a visual art that depends on intellectual elements. The contrasts and harmonies of color produce in the eye simultaneous movements, vision becomes the subject of painting. His early paintings are deeply rooted in Neoimpressionism, night Scene for example has vigorous activity with the use of lively brushstrokes in bright colors against a dark background. It doesn’t define solid object but the areas that surround them, spectral colors of Neoimpressionism were later abandoned, the Eiffel Tower series, were fragmentation of solid objects and their merging with space was learned. Influences in this series were Cézanne, Analytical Cubism, and Futurism, in the Eiffel Tower the interpenetration of tangible objects and surrounding space is accompanies by intense movement of geometric plans that are more dynamic than static equilibrium of Cubist forms
Robert Delaunay
–
Simultaneous Windows on the City, 1912,
Hamburger Kunsthalle
Robert Delaunay
–
Robert Delaunay, Portrait de Jean Metzinger, 1906, oil on canvas, 55 x 43 cm
Robert Delaunay
–
Robert Delaunay, Paysage au disque, 1906–07, oil on canvas, 55 x 46 cm, Musée national d'art moderne (MNAM), Centre Georges Pompidou, Paris
Robert Delaunay
–
Champs de Mars, La Tour rouge, 1911,
Art Institute of Chicago.
33.
Gleizes
–
Albert Gleizes was a French artist, theoretician, philosopher, a self-proclaimed founder of Cubism and an influence on the School of Paris. Albert Gleizes and Jean Metzinger wrote the first major treatise on Cubism, Gleizes was a founding member of the Section dOr group of artists. He was also a member of Der Sturm, and his theoretical writings were originally most appreciated in Germany. Gleizes spent four years in New York, and played an important role in making America aware of modern art. He was a member of the Society of Independent Artists, founder of the Ernest-Renan Association, Gleizes exhibited regularly at Léonce Rosenberg’s Galerie de l’Effort Moderne in Paris, he was also a founder, organizer and director of Abstraction-Création. From the mid-1920s to the late 1930s much of his energy went into writing, La Peinture et ses lois, Vers une conscience plastique, La Forme et l’histoire and Homocentrisme. Born Albert Léon Gleizes and raised in Paris, he was the son of a designer who ran a large industrial design workshop. He was also the nephew of Léon Comerre, a portrait painter who won the 1875 Prix de Rome. The young Albert Gleizes did not like school and often skipped classes to idle away the time writing poetry, finally, after completing his secondary schooling, Gleizes spent four years in the 72nd Infantry Regiment of the French army then began pursuing a career as a painter. Gleizes began to paint self-taught around 1901 in the Impressionist tradition and his first landscapes from around Courbevoie appear particularly inspired by Sisley or Pissarro. The density with which these works are painted and their solid framework suggest affinities with Divisionism which were noted by early critics. Gleizes was only years of age when his work titled La Seine à Asnières was exhibited at the Société Nationale des Beaux-Arts in 1902. The following year Gleizes exhibited two paintings at the Salon dAutomne, in 1905 Gleizes was among the founders of lAssociation Ernest-Renan, a union of students opposed to military propaganda. Gleizes was in charge of the Section littéraire et artistique, organizing theater productions, at the Musée des Beaux-Arts de Lyon, Gleizes exhibited Jour de marché en banlieue. Tending towards 1907 his work evolved into a Post-Impressionist style with strong Naturalist and Symbolist components, Gleizes and others decide to create an association fraternelle dartistes and rent a large house in Créteil. The Abbaye de Créteil was a community of artists that aimed to develop their art free of any commercial concerns. For nearly a year, Gleizes along with painters, poets, musicians and writers. A lack of income forced them to give up their cherished Abbaye de Créteil in early 1908 and Gleizes moved to rue du Delta near Montmartre, in 1908 Gleizes exhibited at the Toison dOr in Moscow
Gleizes
–
Albert Gleizes, circa 1920
Gleizes
–
Albert Gleizes, 1909,
Bords de la Marne, oil on canvas, 54 x 65 cm, Musée des Beaux-Arts, Lyon
Gleizes
–
Albert Gleizes, 1910,
La Femme aux Phlox (Woman with Phlox), oil on canvas, 81 x 100 cm, exhibited
Armory Show, New York, 1913,
Museum of Fine Arts, Houston
Gleizes
–
Albert Gleizes, 1911,
Portrait de Jacques Nayral, oil on canvas, 161.9 x 114 cm, Tate Modern, London. This painting was reproduced in Fantasio: published 15 October 1911, for the occasion of the Salon d'Automne where it was exhibited the same year.
34.
Louis Marcoussis
–
After studying law briefly in Warsaw he went to the Kraków Academy of Fine Arts, where his teachers included Jan Stanislawski and Jozev Mehoffer. Moving to Paris in 1903, he spent a time at the Académie Julian under Jules Lefebvre. He drew cartoons for satirical journals, as he had earlier in Poland, in Paris he needed to earn his own living, and also took on other drawing and illustration work. In the cafés of Montmartre and Montparnasse he got to know Apollinaire, Braque, Degas, Picasso and many more artists and it was Apollinaire who suggested Markus French name, Marcoussis, after a village not far from Paris. Impressionism influenced his paintings, but from about 1911 he was part of the Cubist movement alongside other avant-garde painters like Picasso, Braque, Juan Gris. His work was shown in exhibitions in many European cities and in the US, in 1925 he had his first solo exhibition in Paris. As well as painting still lifes and musical instruments in the Cubist manner, he produced portraits, views of Paris. In 1913 he had married Alice Halicka, a painter who came from Kraków and their daughter Malène was born in 1922. Marcoussis served in a Polish company of the French Foreign Legion from 1914-1919 and he became a French citizen, while also staying in touch with Poland, both personally and professionally. He did not generally talk about his Jewish ancestry, and his family had converted to Catholicism, in the late 1930s Marcoussis collaborated with Spanish surrealist Joan Miró and taught him etching techniques. He also taught at the Académie Schlaefer, after Nazi troops arrived in Paris in 1940, Marcoussis and Alice moved to Cusset near Vichy. He died there on 22 October 1941
Louis Marcoussis
–
Louis Marcoussis, 1930s, photograph by Aram Alban
Louis Marcoussis
–
Le bar du port. Signed, inscribed and dated Marcoussis Banyuls 1913. Oil on canvas, 80.8 x 65 cm
Louis Marcoussis
–
Personnage écrivant. Signed Marcoussis. Oil and charcoal on canvas, 22 x 16.5 cm
Louis Marcoussis
–
Poire verte et couteau (Green pear and knife). Signed Marcoussis. Oil on glass, 36.2 x 26 cm
35.
Picabia
–
Francis Picabia was a French avant-garde painter, poet and typographist. After experimenting with Impressionism and Pointillism, Picabia became associated with Cubism and his highly abstract planar compositions were colourful and rich in contrasts. He was one of the major figures of the Dada movement in the United States. He was later associated with Surrealism, but would soon turn his back on the art establishment. Francis Picabia was born in Paris of a French mother and a Cuban father who was an attaché at the Cuban legation in Paris and his mother died of tuberculosis when he was seven. Some sources would have his father as of aristocratic Spanish descent, whereas others consider him of non-aristocratic Spanish descent, financially independent, Picabia studied under Fernand Cormon and others at the École des Arts Decoratifs in the late 1890s. Fernand Cormon took him into his academy at 104 boulevard de Clichy, from the age of 20, he lived by painting, he subsequently inherited money from his mother. In the beginning of his career, from 1903 to 1908, little churches, lanes, roofs of Paris, riverbanks, wash houses, lanes, barges—these were his subject matter. Some however, began to question his sincerity and said he copied Sisley, or that his cathedrals looked like Monet, from 1909, he came under the influence of those that would soon be called Cubists and later form the Golden Section. The same year, he married Gabrielle Buffet, around 1911 Picabia joined the Puteaux Group, members of which he met at the studio of Jacques Villon in Puteaux, a commune in the western suburbs of Paris. There he became friends with artist Marcel Duchamp and close friends with Guillaume Apollinaire, other group members included Albert Gleizes, Roger de La Fresnaye, Fernand Léger and Jean Metzinger. From 1913 to 1915 Picabia traveled to New York City several times and took part in the avant-garde movements. The magazine 291 devoted an issue to him, he met Man Ray, Gabrielle and Duchamp joined him, drugs and alcohol became a problem. He suffered from dropsy and tachycardia and these years can be characterized as Picabias proto-Dada period, consisting mainly of his portraits mécaniques. He continued the periodical with the help of Marcel Duchamp in the United States, in Zurich, seeking treatment for depression and suicidal impulses, he had met Tristan Tzara, whose radical ideas thrilled Picabia. Picabia, the provocateur, was back home, Picabia continued his involvement in the Dada movement through 1919 in Zürich and Paris, before breaking away from it after developing an interest in Surrealist art. He denounced Dada in 1921, and issued an attack against Breton in the final issue of 391. The same year, he put in an appearance in the René Clair surrealist film Entracte, the film served as an intermission piece for Picabias avant-garde ballet, Relâche, premiered at the Théâtre des Champs-Élysées, with music by Erik Satie
Picabia
–
Francis Picabia, 1919, inside Danse de Saint-Guy
Picabia
–
Francis Picabia, 1912, La Source (The Spring), oil on canvas, 249.6 x 249.3 cm,
Museum of Modern Art, New York. Exhibited at the 1912 Salon d'Automne, Paris
Picabia
–
Machine Turn Quickly, 1916-1918, tempera on paper,
National Gallery of Art
Picabia
–
Francis Picabia, 1913, Udnie (Young American Girl, The Dance), oil on canvas, 290 x 300 cm,
Musée National d'Art Moderne,
Centre Georges Pompidou, Paris.
36.
Cubist sculpture
–
Cubist sculpture developed in parallel with Cubist painting, beginning in Paris around 1909 with its proto-Cubist phase, and evolving through the early 1920s. Just as Cubist painting, Cubist sculpture is rooted in Paul Cézannes reduction of painted objects into component planes and geometric solids, cubes, spheres, cylinders, and cones. Presenting fragments and facets of objects that could be interpreted in different ways had the effect of revealing the structure of the object. In the historical analysis of most modern such as Cubism there has been a tendency to suggest that sculpture trailed behind painting. We are better advised, writes Penelope Curtis, to look at what is sculptural within Cubism, Cubist painting is an almost sculptural translation of the external world, its associated sculpture translates Cubist painting back into a semi-reality. Attempts to separate painting and sculpture, even by 1910, are very difficult, if painters used sculpture for their own ends, so sculptors exploited the new freedom too, writes Curtis, and we should look at what sculptors took from the discourse of painting and why. Increasingly, painters claim sculptural means of solving for their paintings. Braques paper sculptures of 1911, for example, were intended to clarify and this has meant according to Curtis, that we have tended to see sculpture through painting, and even to see painters as poaching sculpture. Such is the case for Picassos 1909-10 Head of a Woman, yet Head of a Woman, writes Curtis, had mainly revealed how Cubism was more interesting in Painting—where it showed in two dimensions how to represent three dimensions—than in sculpture. Picassos Head of a Woman was less adventurous than his painting of 1909 and these facets are obviously a translation from two to three dimensions of the broken planes of Picassos 1909-10 paintings. It has been suggested that in contrast to Cubist painters, Cubist sculptors did not create a new art of space-time, unlike a flat painting, high-relief sculpture from its volumetric nature could never be limited to a single view-point. Hence, as Peter Collins highlights, it is absurd to state that Cubist sculpture, of course, simultaneity and multiple perspective were not the only characteristics of Cubism. In Du Cubisme the painters Albert Gleizes and Jean Metzinger write, Some and we are neither geometers nor sculptors, for us lines, surfaces, and volumes are only modifications of the notion of fullness. To imitate volumes only would be to deny these modifications for the benefit of a monotonous intensity, as well renounce at once our desire for variety. Between reliefs indicated sculpturally we must contrive to hint at those lesser features which are suggested, Cubists sculpture, writes Douglas Cooper, must be discussed apart from the painting because it followed other paths, which were sometimes similar but never parallel. But not infrequently the sculptor and the painter upset the equilibrium of the work of others by doing things which are out of key or out of proportion. Jean Metzinger and Albert Gleizes in their 1912 writing, along with the writings by the critic Maurice Raynal, were most responsible for the given to this claim. Raynal argued, echoing Metzinger and Gleizes, that the rejection of classical perspective in favor of multiplicity represented a break with the instantaneity that characterized Impressionism, the mind now directed the optical exploration of the world
Cubist sculpture
–
Alexander Archipenko, 1912, La Vie Familiale (Family Life). Exhibited at the 1912
Salon d'Automne,
Paris and the 1913
Armory Show in
New York,
Chicago and
Boston. The original sculpture (approx six feet tall) was accidentally destroyed)
Cubist sculpture
–
Joseph Csaky, 1911-1912,
Groupe de femmes (Groupe de trois femmes, Groupe de trois personnages), plaster lost, Exhibited at the 1912
Salon d'Automne and
Salon des Indépendants, 1913, Paris
Cubist sculpture
–
Pablo Picasso, 1909–10, Head of a Woman (Fernande), modeled on
Fernande Olivier
Cubist sculpture
–
Henri Matisse,
The Back Series, bronze, left to right: The Back I, 1908–09, The Back II, 1913, The Back III 1916, The Back IV, c. 1931, all
Museum of Modern Art, New York City
37.
New York World
–
The New York World was a newspaper published in New York City from 1860 until 1931. The paper played a role in the history of American newspapers. It was a national voice of the Democratic Party. From 1883 to 1911 under publisher Joseph Pulitzer, it became a pioneer in yellow journalism, capturing readers attention, the World was formed in 1860. From 1862 to 1876, it was edited by Manton Marble, in 1864, the World was shut down for three days after it published forged documents purportedly from Abraham Lincoln. But Scott was unable to meet the newspapers growing losses, Gould, like Scott, used the paper for his own purposes, employing it to help him take over Western Union. But Gould could not turn the state of the newspaper around. Joseph Pulitzer bought the World in 1883 and began an era of circulation building. Reporter Nellie Bly became one of Americas first investigative journalists, often working undercover, as a publicity stunt for the paper, inspired by the Jules Verne novel Around the World in Eighty Days, she traveled around the planet in 72 days in 1889-1890. In 1890, Pulitzer built the New York World Building, the tallest office building in the world at the time, in 1889, Julius Chambers was appointed by Pulitzer as managing editor of the New York World, he served until 1891. In 1896, the World began using a printing press, it was the first newspaper to launch a color supplement. It joined a battle with William Randolph Hearsts New York Journal American. The World was attacked for being sensational, and its battles with Hearsts Journal American gave rise to the term yellow journalism. The charges of sensationalism were most frequently leveled at the paper by more established publishers, and while the World presented its fair share of crime stories, it also published damning exposés of tenement abuses. After a heat wave in 1883 killed a number of poor children. Its coverage spurred action in the city for reform, hearst reproduced Pulitzers approach in the San Francisco Examiner and later in the Journal American. Frank Irving Cobb was employed on a basis as the editor of the World in 1904 by publisher Pulitzer. Cobb was a fiercely independent Kansan who resisted Pulitzers attempts to run the office from his home, the elder man was so invested in the paper that he continually meddled with Cobbs work
New York World
–
Special Christmas 1899 section featuring a story by
Mark Twain
New York World
–
1904 political cartoon of President
Theodore Roosevelt
38.
Nice
–
Nice is the fifth most populous city in France and the capital of the Alpes-Maritimes département. The urban area of Nice extends beyond the city limits. Nice is about 13 kilometres from the principality of Monaco, the city is nicknamed Nice la Belle, which means Nice the Beautiful, which is also the title of the unofficial anthem of Nice, written by Menica Rondelly in 1912. The area of todays Nice contains Terra Amata, a site which displays evidence of a very early use of fire. Around 350 BC, Greeks of Marseille founded a permanent settlement and called it Nikaia, after Nike, through the ages, the town has changed hands many times. Its strategic location and port significantly contributed to its maritime strength, for centuries it was a dominion of Savoy, and was then part of France between 1792 and 1815, when it was returned to Piedmont-Sardinia until its re-annexation by France in 1860. The citys main seaside promenade, the Promenade des Anglais owes its name to visitors to the resort, for decades now, the picturesque Nicean surroundings have attracted not only those in search of relaxation, but also those seeking inspiration. The clear air and soft light have particularly appealed to some of Western cultures most outstanding painters, such as Marc Chagall, Henri Matisse, Niki de Saint Phalle and Arman. Their work is commemorated in many of the museums, including Musée Marc Chagall, Musée Matisse. Nice has the second largest hotel capacity in the country and it is one of its most visited cities and it also has the third busiest airport in France, after the two main Parisian ones. It is the capital city of the County of Nice. Nice was probably founded around 350 BC by the Greeks of Massalia, the ruins of Cemenelum are in Cimiez, now a district of Nice. In the 7th century, Nice joined the Genoese League formed by the towns of Liguria. In 729 the city repulsed the Saracens, but in 859 and again in 880 the Saracens pillaged and burned it, during the Middle Ages, Nice participated in the wars and history of Italy. As an ally of Pisa it was the enemy of Genoa, during the 13th and 14th centuries the city fell more than once into the hands of the Counts of Provence, but it regained its independence even though related to Genoa. The medieval city walls surrounded the Old Town, the landward side was protected by the River Paillon, which was later covered over and is now the tram route towards the Acropolis. The east side of the town was protected by fortifications on Castle Hill, another river flowed into the port on the east side of Castle Hill. Engravings suggest that the area was also defended by walls
Nice
–
Nice Port
Nice
–
Nice in the time of the
Roman Empire.
Nice
–
The Tower of Saint François
Nice
–
Nice in 1624
39.
Italy
–
Italy, officially the Italian Republic, is a unitary parliamentary republic in Europe. Located in the heart of the Mediterranean Sea, Italy shares open land borders with France, Switzerland, Austria, Slovenia, San Marino, Italy covers an area of 301,338 km2 and has a largely temperate seasonal and Mediterranean climate. Due to its shape, it is referred to in Italy as lo Stivale. With 61 million inhabitants, it is the fourth most populous EU member state, the Italic tribe known as the Latins formed the Roman Kingdom, which eventually became a republic that conquered and assimilated other nearby civilisations. The legacy of the Roman Empire is widespread and can be observed in the distribution of civilian law, republican governments, Christianity. The Renaissance began in Italy and spread to the rest of Europe, bringing a renewed interest in humanism, science, exploration, Italian culture flourished at this time, producing famous scholars, artists and polymaths such as Leonardo da Vinci, Galileo, Michelangelo and Machiavelli. The weakened sovereigns soon fell victim to conquest by European powers such as France, Spain and Austria. Despite being one of the victors in World War I, Italy entered a period of economic crisis and social turmoil. The subsequent participation in World War II on the Axis side ended in defeat, economic destruction. Today, Italy has the third largest economy in the Eurozone and it has a very high level of human development and is ranked sixth in the world for life expectancy. The country plays a prominent role in regional and global economic, military, cultural and diplomatic affairs, as a reflection of its cultural wealth, Italy is home to 51 World Heritage Sites, the most in the world, and is the fifth most visited country. The assumptions on the etymology of the name Italia are very numerous, according to one of the more common explanations, the term Italia, from Latin, Italia, was borrowed through Greek from the Oscan Víteliú, meaning land of young cattle. The bull was a symbol of the southern Italic tribes and was often depicted goring the Roman wolf as a defiant symbol of free Italy during the Social War. Greek historian Dionysius of Halicarnassus states this account together with the legend that Italy was named after Italus, mentioned also by Aristotle and Thucydides. The name Italia originally applied only to a part of what is now Southern Italy – according to Antiochus of Syracuse, but by his time Oenotria and Italy had become synonymous, and the name also applied to most of Lucania as well. The Greeks gradually came to apply the name Italia to a larger region, excavations throughout Italy revealed a Neanderthal presence dating back to the Palaeolithic period, some 200,000 years ago, modern Humans arrived about 40,000 years ago. Other ancient Italian peoples of undetermined language families but of possible origins include the Rhaetian people and Cammuni. Also the Phoenicians established colonies on the coasts of Sardinia and Sicily, the Roman legacy has deeply influenced the Western civilisation, shaping most of the modern world
Italy
–
The
Colosseum in Rome, built c. 70 – 80 AD, is considered one of the greatest works of
architecture and
engineering of ancient history.
Italy
–
Flag
Italy
–
The
Iron Crown of Lombardy, for centuries symbol of the
Kings of Italy.
Italy
–
Castel del Monte, built by German Emperor
Frederick II,
UNESCO World Heritage site
40.
El Lissitzky
–
Lazar Markovich Lissitzky, known as El Lissitzky, was a Russian artist, designer, photographer, typographer, polemicist and architect. His work greatly influenced the Bauhaus and constructivist movements, and he experimented with production techniques, Lissitzkys entire career was laced with the belief that the artist could be an agent for change, later summarized with his edict, das zielbewußte Schaffen. Lissitzky, of Lithuanian Jewish оrigin, began his career illustrating Yiddish childrens books in an effort to promote Jewish culture in Russia, when only 15 he started teaching, a duty he would maintain for most of his life. Over the years, he taught in a variety of positions, schools and this continued until his deathbed, where in 1941 he produced one of his last works – a Soviet propaganda poster rallying the people to construct more tanks for the fight against Nazi Germany. Lissitzky was born on November 23,1890 in Pochinok, a small Jewish community 50 kilometres southeast of Smolensk, former Russian Empire. Always expressing an interest and talent in drawing, he started to receive instruction at 13 from Yehuda Pen, a local Jewish artist, in 1909, he applied to an art academy in Saint Petersburg, but was rejected. While he passed the exam and was qualified, the law under the Tsarist regime only allowed a limited number of Jewish students to attend Russian schools. Like many other Jews then living in the Russian Empire, Lissitzky went to study in Germany and he left in 1909 to study architectural engineering at a Technische Hochschule in Darmstadt, Germany. Also in 1912 some of his pieces were included for the first time in an exhibit by the St. Petersburg Artists Union, a notable first step. During this work, he took an active and passionate interest in Jewish culture which, the new Provisional Government repealed a decree that prohibited the printing of Hebrew letters and that barred Jews from citizenship. These books were Lissitzkys first major foray in book design, a field that he would greatly innovate during his career and his first designs appeared in the 1917 book, Sihas hulin, Eyne fun di geshikhten, where he incorporated Hebrew letters with a distinctly art nouveau flair. His next book was a retelling of the traditional Jewish Passover song Had gadya. In the book, he integrated letters with images through a system that matched the color of the characters in the story with the word referring to them. In the designs for the page, Lissitzky depicts the mighty hand of God slaying the angel of death. This representation links the redemption of the Jews with the victory of the Bolsheviks in the Russian Revolution, an alternative view asserts that the artist was wary of Bolshevik internationalization, leading to destruction of traditional Jewish culture. The quantity of these posters is sufficient to them as a separate genre in the artists output. Chagall also invited other Russian artists, most notably the painter and art theoretician Kazimir Malevich and Lissitzkys former teacher, however, it was not until October 1919 when Lissitzky, then on an errand in Moscow, persuaded Malevich to relocate to Vitebsk. The move coincided with the opening of the first art exhibition in Vitebsk directed by Chagall, Malevich would bring with him a wealth of new ideas, most of which inspired Lissitzky but clashed with local public and professionals who favored figurative art and with Chagall himself
El Lissitzky
–
El Lissitzky in a 1914
self-portrait.
El Lissitzky
–
Lissitzky's The Constructor, 1924, London, Victoria & Albert Museum
El Lissitzky
–
Proun. 1st Kestner Portfolio
El Lissitzky
–
Beat the Whites with the Red Wedge, 1919
41.
Chicago
–
Chicago, officially the City of Chicago, is the third-most populous city in the United States. With over 2.7 million residents, it is the most populous city in the state of Illinois, and it is the county seat of Cook County. In 2012, Chicago was listed as a global city by the Globalization and World Cities Research Network. Chicago has the third-largest gross metropolitan product in the United States—about $640 billion according to 2015 estimates, the city has one of the worlds largest and most diversified economies with no single industry employing more than 14% of the workforce. In 2016, Chicago hosted over 54 million domestic and international visitors, landmarks in the city include Millennium Park, Navy Pier, the Magnificent Mile, Art Institute of Chicago, Museum Campus, the Willis Tower, Museum of Science and Industry, and Lincoln Park Zoo. Chicagos culture includes the arts, novels, film, theater, especially improvisational comedy. Chicago also has sports teams in each of the major professional leagues. The city has many nicknames, the best-known being the Windy City, the name Chicago is derived from a French rendering of the Native American word shikaakwa, known to botanists as Allium tricoccum, from the Miami-Illinois language. The first known reference to the site of the current city of Chicago as Checagou was by Robert de LaSalle around 1679 in a memoir, henri Joutel, in his journal of 1688, noted that the wild garlic, called chicagoua, grew abundantly in the area. In the mid-18th century, the area was inhabited by a Native American tribe known as the Potawatomi, the first known non-indigenous permanent settler in Chicago was Jean Baptiste Point du Sable. Du Sable was of African and French descent and arrived in the 1780s and he is commonly known as the Founder of Chicago. In 1803, the United States Army built Fort Dearborn, which was destroyed in 1812 in the Battle of Fort Dearborn, the Ottawa, Ojibwe, and Potawatomi tribes had ceded additional land to the United States in the 1816 Treaty of St. Louis. The Potawatomi were forcibly removed from their land after the Treaty of Chicago in 1833, on August 12,1833, the Town of Chicago was organized with a population of about 200. Within seven years it grew to more than 4,000 people, on June 15,1835, the first public land sales began with Edmund Dick Taylor as U. S. The City of Chicago was incorporated on Saturday, March 4,1837, as the site of the Chicago Portage, the city became an important transportation hub between the eastern and western United States. Chicagos first railway, Galena and Chicago Union Railroad, and the Illinois, the canal allowed steamboats and sailing ships on the Great Lakes to connect to the Mississippi River. A flourishing economy brought residents from rural communities and immigrants from abroad, manufacturing and retail and finance sectors became dominant, influencing the American economy. The Chicago Board of Trade listed the first ever standardized exchange traded forward contracts and these issues also helped propel another Illinoisan, Abraham Lincoln, to the national stage
Chicago
–
Clockwise from top:
Downtown Chicago, the
Chicago Theatre, the
'L',
Navy Pier,
Millennium Park, the
Field Museum, and the
Willis Tower.
Chicago
–
Traditional
Potawatomi costume on display at the
Field Museum
Chicago
–
A 1903 painting of Chicago in 1833
Chicago
–
An artist's rendering of the
Great Chicago Fire of 1871
42.
Century of Progress
–
The theme of the fair was technological innovation. A Century of Progress was organized as an Illinois nonprofit corporation in January 1928 for the purpose of planning and hosting a Worlds Fair in Chicago in 1934. City officials designated three and a half miles of reclaimed land along the shore of Lake Michigan between 12th and 39th streets on the Near South Side for the fairgrounds. Held on a 427 acres portion of Burnham Park the Century of Progress opened on May 27,1933, the fairs opening night began with a nod to the heavens. Lights were automatically activated when the rays of the star Arcturus were detected, the star was chosen as its light had started its journey at about the time of the previous Chicago worlds fair—the Worlds Columbian Exposition—in 1893. The rays were focused on cells in a series of astronomical observatories. The fair buildings were multi-colored, to create a Rainbow City as opposed to the White City of the Worlds Columbian Exposition, the buildings generally followed Moderne architecture in contrast to the neoclassical themes used at the 1893 fair. One famous feature of the fair were the performances of fan dancer Sally Rand, other popular exhibits were the various auto manufacturers, the Midway, and a recreation of important scenes from Chicagos history. One of the highlights of the 1933 Worlds Fair was the arrival of the German airship Graf Zeppelin on October 26,1933, after circling Lake Michigan near the exposition for two hours, Commander Hugo Eckener landed the 776-foot airship at the nearby Curtiss-Wright Airport in Glenview. It remained on the ground for twenty-five minutes then took off ahead of a weather front bound for Akron. This triggered dissension in the days following its visit, particularly within the citys large German-American population, but it was Packard which won the best of show. Marine artist Hilda Goldblatt Gorenstein painted twelve murals for the Navys exhibit in the Federal Building for the fair, the first Major League Baseball All-Star Game was held at Comiskey Park in conjunction with the fair. To cap its record-breaking speed run, the Zephyr arrived dramatically on-stage at the fairs Wings of a Century transportation pageant, the two trains launched an era of industrial streamlining. Both trains later went into revenue service, the Union Pacifics as the City of Salina. The Zephyr is now on exhibit at Chicagos Museum of Science, Frank Buck furnished a wild animal exhibit, Frank Buck’s Jungle Camp. Over two million people visited Buck’s reproduction of the camp he and his native assistants lived in while collecting animals in Asia, after the fair closed, Buck moved the camp to a compound he had created at Amityville, New York. Planning for the design of the Exposition began over five years prior to Opening Day, local architects on the committee included Edward Bennett, John Holabird, and Hubert Burnham. Frank Lloyd Wright was specifically left off the commission due to his inability to work well with others, members of this committee ended up designing most of the large, thematic exhibition pavilions
Century of Progress
–
A 1933 Century of Progress world's fair posters
Century of Progress
–
Cover carried on the
Graf Zeppelin from 1933 Century of Progress Exposition franked with C-18 US Air Mail stamp issued for the airship's visit.
Century of Progress
–
The passengers, including "Zeph" the burro, that rode the Zephyr on the "Dawn-to-Dusk Dash" gather for a group photo in front of the train after arriving in Chicago on May 26, 1934.
Century of Progress
–
Frank Buck souvenir badge
43.
Europe
–
Europe is a continent that comprises the westernmost part of Eurasia. Europe is bordered by the Arctic Ocean to the north, the Atlantic Ocean to the west, yet the non-oceanic borders of Europe—a concept dating back to classical antiquity—are arbitrary. Europe covers about 10,180,000 square kilometres, or 2% of the Earths surface, politically, Europe is divided into about fifty sovereign states of which the Russian Federation is the largest and most populous, spanning 39% of the continent and comprising 15% of its population. Europe had a population of about 740 million as of 2015. Further from the sea, seasonal differences are more noticeable than close to the coast, Europe, in particular ancient Greece, was the birthplace of Western civilization. The fall of the Western Roman Empire, during the period, marked the end of ancient history. Renaissance humanism, exploration, art, and science led to the modern era, from the Age of Discovery onwards, Europe played a predominant role in global affairs. Between the 16th and 20th centuries, European powers controlled at times the Americas, most of Africa, Oceania. The Industrial Revolution, which began in Great Britain at the end of the 18th century, gave rise to economic, cultural, and social change in Western Europe. During the Cold War, Europe was divided along the Iron Curtain between NATO in the west and the Warsaw Pact in the east, until the revolutions of 1989 and fall of the Berlin Wall. In 1955, the Council of Europe was formed following a speech by Sir Winston Churchill and it includes all states except for Belarus, Kazakhstan and Vatican City. Further European integration by some states led to the formation of the European Union, the EU originated in Western Europe but has been expanding eastward since the fall of the Soviet Union in 1991. The European Anthem is Ode to Joy and states celebrate peace, in classical Greek mythology, Europa is the name of either a Phoenician princess or of a queen of Crete. The name contains the elements εὐρύς, wide, broad and ὤψ eye, broad has been an epithet of Earth herself in the reconstructed Proto-Indo-European religion and the poetry devoted to it. For the second part also the divine attributes of grey-eyed Athena or ox-eyed Hera. The same naming motive according to cartographic convention appears in Greek Ανατολή, Martin Litchfield West stated that phonologically, the match between Europas name and any form of the Semitic word is very poor. Next to these there is also a Proto-Indo-European root *h1regʷos, meaning darkness. Most major world languages use words derived from Eurṓpē or Europa to refer to the continent, in some Turkic languages the originally Persian name Frangistan is used casually in referring to much of Europe, besides official names such as Avrupa or Evropa
Europe
–
Reconstruction of
Herodotus ' world map
Europe
Europe
–
A medieval
T and O map from 1472 showing the three continents as domains of the sons of
Noah — Asia to Sem (
Shem), Europe to Iafeth (
Japheth), and Africa to Cham (
Ham)
Europe
–
Early modern depiction of
Europa regina ('Queen Europe') and the mythical
Europa of the 8th century BC.
44.
Woodlawn Cemetery (Bronx)
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Woodlawn Cemetery is one of the largest cemeteries in New York City and is a designated National Historic Landmark. Located in Woodlawn, Bronx, New York City, it has the character of a rural cemetery, Woodlawn Cemetery opened during the Civil War in 1863, in what was then southern Westchester County, in an area that would be annexed to New York City in 1874. Holly Woodlawn, after changing her name to such, falsely told people she was the heiress to Woodlawn Cemetery, the Cemetery covers more than 400 acres and is the resting place for more than 300,000 people. It is also the site of the Annie Bliss Titanic Memorial, the cemetery contains seven Commonwealth war graves – six British and Canadian servicemen of World War I and an airman of the Royal Canadian Air Force of World War II. As of 2007, plot prices at Woodlawn were reported as $200 per square foot, Woodlawn was the destination for many human remains disinterred from cemeteries in more densely populated parts of New York City, Rutgers Street church graves were also moved to Woodlawn. Most graves were re-interred with a date of December 20,1866 into the Rutgers Plot. West Farms Dutch Reformed Church, at Boone Avenue and 172nd Street in The Bronx, had most of its graves moved to Woodlawn Cemetery in 1867 and interred in the Rutgers Plot, bensonia Cemetery, also known as Morrisania Cemetery, was originally a Native American burial ground. The graves were moved to Woodlawn Cemetery with a date of April 21,1871. Public School #138, in The Bronx, is now on the site, harlem Church Yard cemetery internees were moved to Woodlawn. Most graves were re-interred with a date of August 1,1871 into the Sycamore Plot. Nagle Cemetery remains were moved in November–December 1926 and reinterred in Primrose Plot, Lot 16150, identities of those interred are apparently unknown. The Dyckman-Nagle Burying Ground, West 212th Street at 9th Avenue, in the Borough of Manhattan, was established in 1677. In 1905, the remains, with the exception of Staats Morris Dyckman, by 1927, the Dyckman graves were finally moved to Woodlawn Cemetery. The former Dutch colonial-era cemetery is now a 207th Street subway train yard, the fictional cemetery of the Synagogue in Brooklyn in Once Upon a Time in America is moved here, while naming the place Riverdale Cemetery
Woodlawn Cemetery (Bronx)
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Woodlawn Cemetery
Woodlawn Cemetery (Bronx)
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Jerome Avenue gate
Woodlawn Cemetery (Bronx)
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Titanic memorial
Woodlawn Cemetery (Bronx)
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Richard Hudnut Monument
45.
Le Fumeur
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Le Fumeur, or Man with Pipe, is a Cubist painting by the French artist Jean Metzinger. It has been suggested that the sitter depicted in the painting represents either Guillaume Apollinaire or Max Jacob, the work was exhibited in the spring of 1914 at the Salon des Indépendants, Paris, Champ-de-Mars, March 1–April 30,1914, no. A photograph of Le Fumeur was published in Le Petit Comtois,13 March 1914, in July 1914 the painting was exhibited in Berlin at Herwarth Walden’s Galerie Der Sturm, with works by Albert Gleizes, Raymond Duchamp-Villon and Jacques Villon. Le Fumeur, titled Man with Pipe and dated c,1912, forms part of the permanent collection of the Carnegie Museum of Art, Pittsburgh, Pennsylvania. The vertical composition is painted in a geometrically Cubist style, the sitter, smoking a pipe and wearing a fashionable black felt derby hat, is seen in multiple perspective, from different points of view simultaneously. The global composition is highly geometricized, with planes, angles, layers and facets. The colors used by Metzinger, accentuated by a range of blacks and whites, are bright. As in these works, the decorative patterning assumes a principal role in the composition. Jean Metzinger represents a sophisticated art. He completes to perfection what he paints—not satisfying himself by drawing, if Mr. Ingres, in spite of his considerable reputation, did not have somewhat restrained press, I would say he has the Japanese qualities of Ingresque painting. Metzinger had painted the portrait of Apollinaire on a prior occasion, late 1909 or early 1910, Metzinger painted a Cubist portrait of Apollinaire. Apollinaire became the subject of at least one work by Metzinger. The model is seen smoking a pipe, as did Apollinaire, the pipe was a common theme in the poems of Stéphane Mallarmé and was used as a sexual device by several Cubists because of its phallic symbolism. The later Man with Pipe would seem to resemble Apollinaire more closely, likenesses by Louis Marcoussis and Pablo Picasso, which simplify and caricature Apollinaires features, emphasize the wide, rounded jaw line and almond-shaped eyes of Metzingers subject. Assuming that Metzinger carried through with a portrait of Apollinaire, Man with Pipe would seem to be it, a photograph of Metzingers Le Fumeur published in a review of the 1914 Salon des Indépendants has confirmed that this painting was indeed exhibited at this Salon. Moser, for example, writes in 1985 that a painting titled Le Fumeur was exhibited at the 1914 Salon des Indépendants. Rather than depicting the Man with Pipe from one point of view, the chairs, table and objects place on it, are seen from entirely different angles from the sitter. Figures were often treated frontally and shown sitting behind a table like the café patron in Man with Pipe
Le Fumeur
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Man with Pipe
Le Fumeur
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Jean Metzinger, 1911-12,
Man with a Pipe (Portrait of an American Smoker), oil on canvas, 92.7 x 65.4 cm (36.5 x 25.75 in), Lawrence University, Appleton, Wisconsin. Reproduced on the catalogue cover of Exhibition of Cubist and Futurist Pictures, Boggs & Buhl Department Store, Pittsburgh, July 1913
Le Fumeur
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(center)
Jean Metzinger, c.1913, Le Fumeur (Man with Pipe), Carnegie Museum of Art, Pittsburgh; (left)
Alexander Archipenko, 1914, Danseuse du Médrano (Médrano II), (right) Archipenko, 1913, Pierrot-carrousel, Solomon R. Guggenheim Museum, New York. Published in Le Petit Comtois, 13 March 1914
Le Fumeur
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Jean Metzinger, 1912,
At the Cycle-Race Track (Au Vélodrome), oil and sand on canvas, 130.4 x 97.1 cm (51.4 x 38.25 in.) The Solomon R. Guggenheim Foundation,
Peggy Guggenheim Collection, Venice
46.
Solomon R. Guggenheim Museum
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It is the permanent home of a continuously expanding collection of Impressionist, Post-Impressionist, early Modern and contemporary art and also features special exhibitions throughout the year. The museum was established by the Solomon R. Guggenheim Foundation in 1939 as the Museum of Non-Objective Painting, under the guidance of its first director and it adopted its current name after the death of its founder, Solomon R. Guggenheim, in 1952. In 1959, the museum moved from rented space to its current building, designed by Frank Lloyd Wright, the cylindrical building, wider at the top than the bottom, was conceived as a temple of the spirit. Its unique ramp gallery extends up from ground level in a long, the building underwent extensive expansion and renovations in 1992 and from 2005 to 2008. The museums collection has grown organically, over eight decades, and is founded several important private collections. The collection is shared with the museums sister museums in Bilbao, Spain, in 2013, nearly 1.2 million people visited the museum, and it hosted the most popular exhibition in New York City. Solomon R. Guggenheim, a member of a mining family, had been collecting works of the old masters since the 1890s. In 1926, he met artist Hilla von Rebay, who introduced him to European avant-garde art, in abstract art that she felt had a spiritual. Guggenheim completely changed his strategy, turning to the work of Wassily Kandinsky. He began to display his collection to the public at his apartment in the Plaza Hotel in New York City, as the collection grew, he established the Solomon R. Guggenheim Foundation, in 1937, to foster the appreciation of modern art. The foundations first venue for the display of art, the Museum of Non-Objective Painting, opened in 1939 under the direction of Rebay, in midtown Manhattan. By the early 1940s, the foundation had accumulated such a collection of avant-garde paintings that the need for a permanent museum building had become apparent. In 1943, Rebay and Guggenheim wrote a letter to Frank Lloyd Wright asking him to design a structure to house, Wright accepted the opportunity to experiment with his organic style in an urban setting. It took him 15 years,700 sketches, and six sets of working drawings to create the museum, in 1948, the collection was greatly expanded through the purchase of art dealer Karl Nierendorfs estate of some 730 objects, notably German expressionist paintings. By that time, the collection included a broad spectrum of expressionist and surrealist works, including paintings by Paul Klee, Oskar Kokoschka. Nevertheless, she left a portion of her collection to the foundation in her will, including works by Kandinsky, Klee, Alexander Calder, Albert Gleizes, Mondrian. The museum was renamed the Solomon R. Guggenheim Museum in 1952, Rebay conceived of the space as a temple of the spirit that would facilitate a new way of looking at the modern pieces in the collection. She wrote to Wright that each of these great masterpieces should be organized into space, would test the possibilities to do so
Solomon R. Guggenheim Museum
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from Fifth Avenue
Solomon R. Guggenheim Museum
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Albert Gleizes, 1915, Composition pour Jazz, oil on cardboard, 73 x 73 cm
Solomon R. Guggenheim Museum
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The museum's atrium
Solomon R. Guggenheim Museum
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Museum under construction in photo taken on Nov. 12, 1957
47.
Joseph Csaky
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Joseph Csaky was a Hungarian avant-garde artist, sculptor, and graphic artist, best known for his early participation as a sculptor in the Cubist movement. Joseph Csaky was one of the first sculptors in Paris to apply the principles of pictorial Cubism to his art, a pioneer of modern sculpture, Csaky is among the most important sculptors of the early 20th century. He was an member of the Section dOr group between 1911 and 1914, and closely associated with De Stijl and Purism throughout the 1920s. Csaky fought alongside French soldiers during World War I and in 1922 became a naturalized French citizen and he was a founding member of lUnion des Artistes modernes in 1929. During World War II, Csaky joined forces with the French underground movement in Valençay, in the late 1920s, he collaborated with some other artists in designing furniture and other decorative pieces, including elements of the Studio House for the designer Jacques Doucet. After 1928, Csaky moved away from Cubism into a figurative or representational style for nearly thirty years. He exhibited internationally across Europe, but some of his pioneering artistic innovation was forgotten and his work today is primarily held by French and Hungarian institutions, as well as galleries and private collections both in France and abroad. József Csáky was born in Szeged, Hungary, then part of the monarchy of the Austro-Hungarian Empire. A provincial southern city, Szeged is now the third-largest in the country, Csaky moved with his family to Budapest at an early age, where he frequented museums and galleries. In 1905 Csaky was accepted at the Academy of Applied Arts in Budapest, where he studied under the direction of the sculptor Mátrai Lajos, ifj. for one and a half years. In 1907, for six and a half months, he worked in the Zsolnay Factory in Pécs, making ceramic ashtrays and he worked briefly as a metal founder in Budapest, and at one point with a taxidermist. Attracted by its reputation for lights and great artists, Csaky made the decision to move to Paris France and he traveled mostly by foot, walking fifty or sixty kilometers per day during the summer of 1908. In Paris a new world opened up for him and he made a living by doing odd jobs, working as a peddler, stone cutter, and posing as a model for students at a local art school, making 20 francs a week. He later posed for artists in their own studios, making more money. By autumn of 1908 he shared a space at Cité Falguière with Joseph Brummer. Within three weeks of Csakys arrival in Paris, Brummer showed the newcomer a sculpture he was working on, Brummer told Csaky that another artist in Paris, a Spaniard named Pablo Picasso, was painting in the spirit of Negro sculptures. Shortly after, Csaky found a studio at the artists collective La Ruche in Montparnasse, the building had been constructed by Gustave Eiffel, and was adapted as artists studios by the sculptor Alfred Boucher. Among other émigré artists at La Ruche were Alexander Archipenko, Wladimir Baranoff-Rossine, with his discovery of the work of Auguste Rodin laying the groundwork for an oeuvre characterized by a mastery of sculptural techniques, Csakys work in stone carving would evolve
Joseph Csaky
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Joseph Csaky, 1926, photograph
André Kertész, exhibited at Galerie Au Sacre du printemps in Paris, 1927
Joseph Csaky
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Joseph Csaky, 1911–1912,
Groupe de femmes (Groupe de trois femmes, Groupe de trois personnages), plaster lost, photo Galerie René Reichard, Frankfurt. Exhibited at the 1912 Salon d'Automne, and Salon des Indépendants, 1913, Paris
Joseph Csaky
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Joseph Csaky, 1912,
Danseuse (Femme à l'éventail, Femme à la cruche), original plaster, exhibited at the
Salon d'Automne of 1912, Paris, n. 405, and
Salon des Indépendants of 1914, n. 813, photo from Csaky archives AC.110
Joseph Csaky
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Joseph Csaky, Head, 1913, Plaster lost. Photo published in Montjoie! March 1914, also Richard, René, 1988
48.
Negative space
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Negative space, in art, is the space around and between the subject of an image. The use of space is a key element of artistic composition. The Japanese word ma is sometimes used for this concept, for example in garden design, in a two-tone, black-and-white image, a subject is normally depicted in black and the space around it is left blank, thereby forming a silhouette of the subject. In graphic design of printed or displayed materials, where communication is the objective. Not only within the typography, but in its placement in relation to the whole and it is the basis of why upper and lower case typography always is more legible than the use of all capital letters. The same judicious use of negative space drives the effectiveness of the entire design, because of the long history of the use of black ink on white paper, white space is the term often used in graphics to identify the same separation. Elements of an image that distract from the subject, or in the case of photography. Negative space may be used to depict a subject in a medium by showing everything around the subject. Use of negative space will produce a silhouette of the subject, most often, negative space is used as a neutral or contrasting background to draw attention to the main subject, which then is referred to as the positive space. The use of negative space, as a balance to positive space. This basic, but often overlooked principle of design, gives the eye a place to rest, the term also is used in other arts. Musicians will describe periods of silence within a piece as negative space. Composition Figure–ground Ma Space White space Negative Space, the Art of Negative Space, An Attempt to Tell a Story Through Illustration. The Art of Negative Space,15 Amazing Examples Negative Space Style Clothing
Negative space
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Rubin's vase is an
optical illusion in which the negative space around the vase forms the silhouettes of two faces in profile, a well-known example of
figure-ground reversal by emphasizing that negative space
49.
Polymethyl methacrylate
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The same material can be utilised as a casting resin, in inks and coatings, and has many other uses. Chemically, it is the polymer of methyl methacrylate. PMMA is an alternative to polycarbonate when extreme strength is not necessary. Additionally, PMMA does not contain the potentially harmful bisphenol-A subunits found in polycarbonate and it is often preferred because of its moderate properties, easy handling and processing, and low cost. The first acrylic acid was created in 1843, methacrylic acid, derived from acrylic acid, was formulated in 1865. The reaction between acid and methanol results in the ester methyl methacrylate. In 1877 the German chemist Wilhelm Rudolph Fittig discovered the process that turns methyl methacrylate into polymethyl methacrylate. In 1933, the brand name Plexiglas was patented and registered by another German chemist, in 1936 Imperial Chemical Industries began the first commercially viable production of acrylic safety glass. During World War II both Allied and Axis forces used acrylic glass for submarine periscopes and aircraft windshields, canopies, common orthographic stylings include polymethyl methacrylate and polymethylmethacrylate. The full chemical name is poly, although often called simply acrylic, acrylic can also refer to other polymers or copolymers containing polyacrylonitrile. The other notable names include, Acrylite, a trademark of Evonik Cyro since 1976 Lucite, a trademark of DuPont, first registered in 1937 R-Cast. Founded in 1987 after spinning off from Reynolds & Taylor and they specialize in large scale and thick monolithic acrylic. Plexiglas, a trademark of ELF Atochem, now a subsidiary of Arkema in the US, generally, radical initiation is used, but anionic polymerization of PMMA can also be performed. To produce 1 kg of PMMA, about 2 kg of petroleum is needed, PMMA produced by radical polymerization is atactic and completely amorphous. The glass transition temperature of atactic PMMA is 105 °C, PMMA is thus an organic glass at room temperature, i. e. it is below its Tg. The forming temperature starts at the transition temperature and goes up from there. All common molding processes may be used, including molding, compression molding. The highest quality PMMA sheets are produced by casting, but in this case
Polymethyl methacrylate
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Lichtenberg figure: high voltage dielectric breakdown in an acrylic polymer block
Polymethyl methacrylate
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Poly(methyl methacrylate)
Polymethyl methacrylate
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Illustrative and secure
bromine chemical sample used for teaching. The sample vial of corrosive and poisonous liquid has been cast into an acrylic plastic cube
Polymethyl methacrylate
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Close-up of pressure sphere of
Bathyscaphe Trieste, with single conical window of PMMA (Plexiglas) set into sphere hull. The very small black circle (smaller than the man's head) is the inner side of the plastic "window," and is only a few inches in diameter. The larger circular clear black area represents the larger outer-side of the thick one-piece plastic cone "window."
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