1.
Alexander Roslin
–
Alexander Roslin was a Swedish portrait painter who worked in Scania, Bayreuth, Paris, Italy, Warsaw and St. Petersburg, primarily for members of aristocratic families. He combined insightful psychological portrayal with a representation of fabrics. In his choice of style and lustrous, shimmering colors Alexander Roslin exemplifies Rococo and he lived in France from 1752 until 1793, a period that spanned most of his career. Rococo artists opted for a more jocular, elegant and ornate style, characterized by lightness, elegance and graceful approach to art and architecture. The painting by Roslin depicting Jeanne Sophie de Vignerot du Plessis, Alexander Roslin was born on 15 July 1718, in Malmö, Sweden, the son of naval physician Hans Roslin and Catherine Wertmüller. Stockholm had become an intellectual and artistic center since Queen Christina had established connections with Paris, at the age of sixteen he became apprenticed to the court painter Georg Engelhard Schröder in Stockholm, studying painting there until 1741 and beginning to paint large portraits in oils. Schröder was influenced by Hyacinthe Rigaud and Nicolas de Largillière, in 1741, Roslin settled in Gothenburg, and the following year moved to Scania, where he remained until 1745 painting portraits and also creating religious paintings for the church at Hasslöv. In 1745, Roslin left Sweden for Bayreuth, where he had invited to work for Frederick. In 1747, he moved to Italy to study the works of the great masters, while in Italy he portrayed, among others, the family of Philip, Duke of Parma in 1752. In the same year Roslin moved to Paris, at the age of 34, here, in 1759, he married the pastel painter Marie-Suzanne Giroust. The couple had three sons and three daughters, in 1768 Roslin painted her dressed in Bolognese fashion, Lady with Veil, a portrait that the art critic, writer and philosopher Denis Diderot judged très piquante. In 1767 he painted a portrait of them both, she is depicted working in pastels on a portrait of Henrik Wilhelm Peill, while Roslin points at a gold box he received from Peill as a present. The frame of the painting is inscribed Loin et près, showing that the portrait was a token of friendship and this painting was purchased by the Swedish National Museum in 2013. In Paris he was a protégé of François Boucher and his work became fashionable. He was chosen as a member of the French Art Academy and his early portraits are painted in bright, cool colours, and show the influence of Jean-Marc Nattier and Hyacinthe Rigaud. Around the 1760s he started using daring colouring in his paintings, such as in the portrait of his wife, Lady with Veil, and the Jennings Family. Roslin had great skill in painting the surfaces and texture of precious materials such as fabrics and jewels. In Paris he soon became one of the foremost portraitists of his time, valued mostly for practiced rendering of fabrics and gentle complexions
Alexander Roslin
–
Self Portrait while Painting the
King of Sweden 1785
Alexander Roslin
–
Double portrait of Roslin and his wife, 1767
Alexander Roslin
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A portrait of Roslin's wife, Marie Suzanne Giroust-Roslin, 1770
Alexander Roslin
–
Countess Françoise Marguerite de Grignan the daughter of
Madame de Sévigné by Alexander Roslin 1753
2.
Paris
–
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
–
In the 1860s Paris streets and monuments were illuminated by 56,000 gas lamps, making it literally "The City of Light."
Paris
Paris
–
Gold coins minted by the Parisii (1st century BC)
Paris
–
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)
3.
France
–
France, officially the French Republic, is a country with territory in western Europe and several overseas regions and territories. The European, or metropolitan, area of France extends from the Mediterranean Sea to the English Channel and the North Sea, Overseas France include French Guiana on the South American continent and several island territories in the Atlantic, Pacific and Indian oceans. France spans 643,801 square kilometres and had a population of almost 67 million people as of January 2017. It is a unitary republic with the capital in Paris. Other major urban centres include Marseille, Lyon, Lille, Nice, Toulouse, during the Iron Age, what is now metropolitan France was inhabited by the Gauls, a Celtic people. The area was annexed in 51 BC by Rome, which held Gaul until 486, France emerged as a major European power in the Late Middle Ages, with its victory in the Hundred Years War strengthening state-building and political centralisation. During the Renaissance, French culture flourished and a colonial empire was established. The 16th century was dominated by civil wars between Catholics and Protestants. France became Europes dominant cultural, political, and military power under Louis XIV, in the 19th century Napoleon took power and established the First French Empire, whose subsequent Napoleonic Wars shaped the course of continental Europe. Following the collapse of the Empire, France endured a succession of governments culminating with the establishment of the French Third Republic in 1870. Following liberation in 1944, a Fourth Republic was established and later dissolved in the course of the Algerian War, the Fifth Republic, led by Charles de Gaulle, was formed in 1958 and remains to this day. Algeria and nearly all the colonies became independent in the 1960s with minimal controversy and typically retained close economic. France has long been a centre of art, science. It hosts Europes fourth-largest number of cultural UNESCO World Heritage Sites and receives around 83 million foreign tourists annually, France is a developed country with the worlds sixth-largest economy by nominal GDP and ninth-largest by purchasing power parity. In terms of household wealth, it ranks fourth in the world. France performs well in international rankings of education, health care, life expectancy, France remains a great power in the world, being one of the five permanent members of the United Nations Security Council with the power to veto and an official nuclear-weapon state. It is a member state of the European Union and the Eurozone. It is also a member of the Group of 7, North Atlantic Treaty Organization, Organisation for Economic Co-operation and Development, the World Trade Organization, originally applied to the whole Frankish Empire, the name France comes from the Latin Francia, or country of the Franks
France
–
One of the
Lascaux paintings: a horse –
Dordogne, approximately 18,000 BC
France
–
Flag
France
–
The
Maison Carrée was a temple of the
Gallo-Roman city of Nemausus (present-day
Nîmes) and is one of the best preserved vestiges of the
Roman Empire.
France
–
With
Clovis ' conversion to Catholicism in 498, the
Frankish monarchy,
elective and
secular until then, became
hereditary and of
divine right.
4.
Painting
–
Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
Painting
–
The
Mona Lisa, by
Leonardo da Vinci, is one of the most recognizable paintings in the world.
Painting
–
Chen Hongshou (1598–1652), Leaf album painting (
Ming Dynasty)
Painting
–
Circus Sideshow (
French: Parade de cirque),
Georges Seurat, 1887–88
Painting
–
Cave painting of aurochs, (
French: Bos primigenius primigenius),
Lascaux,
France,
prehistoric art
5.
Still life
–
A still life is a work of art depicting mostly inanimate subject matter, typically commonplace objects which may be either natural or man-made. Still life gives the artist more freedom in the arrangement of elements within a composition than do paintings of other types of such as landscape or portraiture. Early still-life paintings, particularly before 1700, often contained religious, some modern still life breaks the two-dimensional barrier and employs three-dimensional mixed media, and uses found objects, photography, computer graphics, as well as video and sound. Still life emerged from the painting of details in larger compositions with subjects, the term includes the painting of dead animals, especially game. Live ones are considered art, although in practice they were often painted from dead models. The still-life category also shares commonalities with zoological and especially botanical illustration, generally a still life includes a fully depicted background, and puts aesthetic rather than illustrative concerns as primary. Still life occupied the lowest rung of the hierarchy of genres, the trompe-lœil painting, which intends to deceive the viewer into thinking the scene is real, is a specialized type of still life, usually showing inanimate and relatively flat objects. Still-life paintings often adorn the interior of ancient Egyptian tombs and it was believed that food objects and other items depicted there would, in the afterlife, become real and available for use by the deceased. Ancient Greek vase paintings also demonstrate great skill in depicting everyday objects, by the 16th century, food and flowers would again appear as symbols of the seasons and of the five senses. Also starting in Roman times is the tradition of the use of the skull in paintings as a symbol of mortality and earthly remains and these vanitas images have been re-interpreted through the last 400 years of art history, starting with Dutch painters around 1600. As Pliny the Elder recorded in ancient Roman times, Greek artists centuries earlier were already advanced in the arts of painting, genre painting. He singled out Peiraikos, whose artistry is surpassed by only a very few, by 1300, starting with Giotto and his pupils, still-life painting was revived in the form of fictional niches on religious wall paintings which depicted everyday objects. Through the Middle Ages and the Renaissance, still life in Western art remained primarily an adjunct to Christian religious subjects, painters like Jan van Eyck often used still-life elements as part of an iconographic program. Petrus Christus’ portrait of a bride and groom visiting a goldsmith is an example of a transitional still life depicting both religious and secular content. Another similar type of painting is the family portrait combining figures with a table of food. Around this time, simple still-life depictions divorced of figures were beginning to be painted on the outside of shutters of private devotional paintings, another step toward the autonomous still life was the painting of symbolic flowers in vases on the back of secular portraits around 1475. This was a development by Pieter Aertsen, whose A Meat Stall with the Holy Family Giving Alms introduced the type with a painting that still startles. A small religious scene can often be out in the distance
Still life
–
Jan Brueghel the Elder (1568–1625), Bouquet (1599),
Kunsthistorisches Museum,
Vienna. Some of the earliest examples of still life were paintings of flowers by Northern Renaissance, Dutch, and Flemish painters.
Still life
–
Still life on a 2nd-century mosaic, with fish, poultry, dates and vegetables from the
Vatican museum
Still life
–
Glass bowl of fruit and vases.
Roman wall painting in
Pompeii (around 70 AD),
Naples National Archaeological Museum,
Naples,
Italy
Still life
–
Hans Memling (1430–1494), Vase of Flowers (1480), Museo Thyssen-Bornemisza,
Madrid. According to some scholars the Vase of Flowers is filled with religious symbolism.
6.
Marie Antoinette
–
Marie Antoinette (/ˈmæriˌæntwəˈnɛt/, /ˌɑ̃ːntwə-/, /ˌɑ̃ːtwə-/, US /məˈriː-/, French, born Maria Antonia Josepha Johanna, was the last Queen of France and Navarre before the French Revolution. She was born an Archduchess of Austria, and was the fifteenth and second youngest child of Empress Maria Theresa and Francis I, in April 1770, upon her marriage to Louis-Auguste, heir apparent to the French throne, she became Dauphine of France. After eight years of marriage, Marie Antoinette gave birth to a daughter, Marie-Thérèse Charlotte, the Diamond Necklace affair damaged her reputation further. On 10 August 1792, the attack on the Tuileries forced the family to take refuge at the Assembly. On 21 September 1792, the monarchy was abolished, after a two-day trial begun on 14 October 1793, Marie Antoinette was convicted by the Revolutionary Tribunal of high treason, and executed by guillotine on Place de la Révolution on 16 October 1793. Maria Antonia was born on 2 November 1755, at the Hofburg Palace and she was the youngest daughter of Empress Maria Theresa, ruler of the Habsburg Empire, and her husband Francis I, Holy Roman Emperor. Her godparents were Joseph I and Mariana Victoria, King and Queen of Portugal, Archduke Joseph, shortly after her birth, she was placed under the care of the Governess of the Imperial children, Countess von Brandeis. Maria Antonia was raised with her older sister Maria Carolina. As to her relationship with her mother, it was difficult, despite the private tutoring she received, results of her schooling were less than satisfactory. At the age of ten she could not write correctly in German or in any language used at court, such as French. Under the teaching of Christoph Willibald Gluck, Maria Antonia developed into a good musician and she learned to play the harp, the harpsichord and the flute. During the familys gatherings in the evenings, she would sing and she also excelled at dancing, had an exquisite poise, and loved dolls. Following the Seven Years War and the Diplomatic Revolution of 1756, Empress Maria Theresa decided to end hostilities with her longtime enemy, on 14 May she met her husband at the edge of the forest of Compiègne. Upon her arrival in France, she adopted the French version of her name, a further ceremonial wedding took place on 16 May 1770 in the Palace of Versailles and, after the festivities, the day ended with the ritual bedding. The lack of consummation of the marriage plagued the reputation of both Louis-Auguste and Marie Antoinette for the seven years. The initial reaction to the marriage between Marie Antoinette and Louis-Auguste was mixed, on the one hand, the Dauphine was beautiful, personable and well-liked by the common people. Her first official appearance in Paris on 8 June 1773 was a resounding success, on the other hand, those opposed to the alliance with Austria, and others, for personal reasons, had a difficult relationship with Marie Antoinette. Madame du Barry, for example, was Louis XVs mistress and had political influence over him
Marie Antoinette
–
Marie Antoinette with the Rose Portrait by
Louise Élisabeth Vigée Le Brun, 1783.
Marie Antoinette
–
Archduchesses Maria Carolina (in blue dress) and Maria Antonia (in pink dress). Watercolor on ivory by Antonio Pencini, 1764. Vienna, Hofburg.
Marie Antoinette
–
Maria Antonia aged 12 by
Martin van Meytens, c. 1767-1768.
7.
French Revolution
–
Through the Revolutionary Wars, it unleashed a wave of global conflicts that extended from the Caribbean to the Middle East. Historians widely regard the Revolution as one of the most important events in human history, the causes of the French Revolution are complex and are still debated among historians. Following the Seven Years War and the American Revolutionary War, the French government was deeply in debt, Years of bad harvests leading up to the Revolution also inflamed popular resentment of the privileges enjoyed by the clergy and the aristocracy. Demands for change were formulated in terms of Enlightenment ideals and contributed to the convocation of the Estates-General in May 1789, a central event of the first stage, in August 1789, was the abolition of feudalism and the old rules and privileges left over from the Ancien Régime. The next few years featured political struggles between various liberal assemblies and right-wing supporters of the intent on thwarting major reforms. The Republic was proclaimed in September 1792 after the French victory at Valmy, in a momentous event that led to international condemnation, Louis XVI was executed in January 1793. External threats closely shaped the course of the Revolution, internally, popular agitation radicalised the Revolution significantly, culminating in the rise of Maximilien Robespierre and the Jacobins. Large numbers of civilians were executed by revolutionary tribunals during the Terror, after the Thermidorian Reaction, an executive council known as the Directory assumed control of the French state in 1795. The rule of the Directory was characterised by suspended elections, debt repudiations, financial instability, persecutions against the Catholic clergy, dogged by charges of corruption, the Directory collapsed in a coup led by Napoleon Bonaparte in 1799. The modern era has unfolded in the shadow of the French Revolution, almost all future revolutionary movements looked back to the Revolution as their predecessor. The values and institutions of the Revolution dominate French politics to this day, the French Revolution differed from other revolutions in being not merely national, for it aimed at benefiting all humanity. Globally, the Revolution accelerated the rise of republics and democracies and it became the focal point for the development of all modern political ideologies, leading to the spread of liberalism, radicalism, nationalism, socialism, feminism, and secularism, among many others. The Revolution also witnessed the birth of total war by organising the resources of France, historians have pointed to many events and factors within the Ancien Régime that led to the Revolution. Over the course of the 18th century, there emerged what the philosopher Jürgen Habermas called the idea of the sphere in France. A perfect example would be the Palace of Versailles which was meant to overwhelm the senses of the visitor and convince one of the greatness of the French state and Louis XIV. Starting in the early 18th century saw the appearance of the sphere which was critical in that both sides were active. In France, the emergence of the public sphere outside of the control of the saw the shift from Versailles to Paris as the cultural capital of France. In the 1750s, during the querelle des bouffons over the question of the quality of Italian vs, in 1782, Louis-Sébastien Mercier wrote, The word court no longer inspires awe amongst us as in the time of Louis XIV
French Revolution
–
The
August Insurrection in 1792 precipitated the last days of the monarchy.
French Revolution
–
The French government faced a fiscal crisis in the 1780s, and King Louis XVI was blamed for mishandling these affairs.
French Revolution
–
Caricature of the Third Estate carrying the First Estate (clergy) and the Second Estate (nobility) on its back.
French Revolution
–
The meeting of the Estates General on 5 May 1789 at Versailles.
8.
Genre painting
–
Genre painting, also called genre scene or petit genre, depicts aspects of everyday life by portraying ordinary people engaged in common activities. A work would often be considered as a genre work even if it could be shown that the artist had used a known member of his family. In this case it would depend on whether the work was likely to have intended by the artist to be perceived as a portrait—sometimes a subjective question. The depictions can be realistic, imagined, or romanticized by the artist, because of their familiar and frequently sentimental subject matter, genre paintings have often proven popular with the bourgeoisie, or middle class. Genre subjects appear in many traditions of art and these were part of a pattern of Mannerist inversion in Antwerp painting, giving low elements previously in the decorative background of images prominent emphasis. The generally small scale of these paintings was appropriate for their display in the homes of middle class purchasers. Often the subject of a painting was based on a popular emblem from an Emblem book. The merry company showed a group of figures at a party, other common types of scenes showed markets or fairs, village festivities, or soldiers in camp. In Italy, a school of painting was stimulated by the arrival in Rome of the Dutch painter Pieter van Laer in 1625. He acquired the nickname Il Bamboccio and his followers were called the Bamboccianti, whose works would inspire Giacomo Ceruti, Antonio Cifrondi, jean-Baptiste Greuze and others painted detailed and rather sentimental groups or individual portraits of peasants that were to be influential on 19th-century painting. Spain had a tradition predating The Book of Good Love of social observation and commentary based on the Old Roman Latin tradition, practiced by many of its painters and illuminators. More than a later, the Spanish artist Francisco de Goya used genre scenes in painting and printmaking as a medium for dark commentary on the human condition. His The Disasters of War, a series of 82 genre incidents from the Peninsular War, with the decline of religious and historical painting in the 19th century, artists increasingly found their subject matter in the life around them. In French art this was known as the Troubador style, in the second half of the century interest in genre scenes, often in historical settings or with pointed social or moral comment, greatly increased across Europe. Other 19th-century English genre painters include Augustus Leopold Egg, George Elgar Hicks, William Holman Hunt, scotland produced two influential genre painters, David Allan and Sir David Wilkie. Wilkies The Cottars Saturday Night inspired a work by the French painter Gustave Courbet. Famous Russian realist painters like Vasily Perov and Ilya Repin also produced genre paintings, in Germany, Carl Spitzweg specialized in gently humorous genre scenes, and in Italy Gerolamo Induno painted scenes of military life. Subsequently the Impressionists, as well as such 20th-century artists as Pierre Bonnard, Itshak Holtz, Edward Hopper, other notable 19th-century genre painters from the United States include George Caleb Bingham, William Sidney Mount, and Eastman Johnson
Genre painting
–
The Idle Servant; housemaid troubles were the subject of several of
Nicolaes Maes ' works
Genre painting
–
Peasant Dance, c. 1568, oil on wood, by
Pieter Brueghel the Elder
Genre painting
–
Merry company, by Dirck Hals
Genre painting
–
Interior with woman by
Wybrand Hendriks
9.
Seine
–
The Seine is a 777-kilometre-long river and an important commercial waterway within the Paris Basin in the north of France. It rises at Source-Seine,30 kilometres northwest of Dijon in northeastern France in the Langres plateau, flowing through Paris and it is navigable by ocean-going vessels as far as Rouen,120 kilometres from the sea. There are 37 bridges within Paris and dozens more spanning the river outside the city, examples in Paris include the Pont Alexandre III and Pont Neuf, the latter of which dates back to 1607. Outside the city, examples include the Pont de Normandie, one of the longest cable-stayed bridges in the world, the Seine rises in the commune of Source-Seine, about 30 kilometres northwest of Dijon. The source has been owned by the city of Paris since 1864, a number of closely associated small ditches or depressions provide the source waters, with an artificial grotto laid out to highlight and contain a deemed main source. The grotto includes a statue of a nymph, on the same site are the buried remains of a Gallo-Roman temple. Small statues of the dea Sequana Seine goddess and other ex voti found at the place are now exhibited in the Dijon archeological museum. The Seine is dredged and oceangoing vessels can dock at Rouen,120 kilometres from the sea, commercial riverboats can use the river from Bar-sur-Seine,560 kilometres to its mouth. At Paris, there are 37 bridges, the river is only 24 metres above sea level 446 kilometres from its mouth, making it slow flowing and thus easily navigable. The Seine Maritime,105.7 kilometres from the English Channel at Le Havre to Rouen, is the portion of the Seine used by ocean-going craft. The tidal section of the Seine Maritime is followed by a section with four large multiple locks until the mouth of the Oise at Conflans-Sainte-Honorine. Multiple locks at Bougival / Chatou and at Suresnes lift the vessels to the level of the river in Paris, upstream from Paris seven locks ensure navigation to Saint Mammès, where the Loing mouth is situated. Through an eighth lock the river Yonne is reached at Montereau-Fault-Yonne, from the mouth of the Yonne, larger ships can continue upstream to Nogent-sur-Seine. From there on, the river is only by small craft. All navigation ends abruptly at Marcilly-sur-Seine, where the ancient Canal de la Haute-Seine used to allow vessels to continue all the way to Troyes and this canal has been abandoned for many years. The average depth of the Seine today at Paris is about 9.5 metres. Until locks were installed to raise the level in the 1800s, the river was much shallower within the city most of the time, today the depth is tightly controlled and the entire width of the river between the built-up banks on either side is normally filled with water. The average flow of the river is low, only a few cubic metres per second
Seine
–
The Seine in Paris
Seine
–
Seine source
Seine
–
The
Pont de Normandie over the Seine, between
Le Havre and
Honfleur, on the
Normandy coast
Seine
–
The Seine and Eiffel Tower
10.
Joseph Vernet
–
Claude-Joseph Vernet was a French painter. His son, Antoine Charles Horace Vernet, was also a painter, when only fourteen years of age he aided his father, Antoine Vernet, a skilled decorative painter, in the most important parts of his work. The panels of sedan chairs, however, could not satisfy his ambition, in 1734, Vernet left for Rome to study landscape designers and maritime painters, like Claude Gellee, where we find the styles and subjects of Vernets paintings. Slowly Vernet attracted notice in the milieu of Rome. With a certain conventionality in design, proper to his day, he allied the results of constant and honest observation of effects of atmosphere. Perhaps no painter of landscapes or sea-pieces has ever made the figure so completely a part of the scene depicted or so important a factor in his design. In this respect he was influenced by Giovanni Paolo Panini. Vernets work draws on themes, but in a way that is neither sentimental or emotive. The overall effect of his style is wholly decorative, others may know better, he said, with just pride, how to paint the sky, the earth, the ocean, no one knows better than I how to paint a picture. His style remained relatively static throughout his life and his works attentiveness to atmospheric effects is combined with a sense of harmony that is reminiscent of Claude Lorrain. In 1745 he married an Englishwoman whom he met in the city, in 1753 he was recalled to Paris, there, by royal command, he executed the series of the seaports of France by which he is best known. His The Port of Rochefort is particularly notable, in the piece Vernet is able to achieve, according to art historian Michael Levey, one of his most crystalline and atmospherically sensitive skies. In 1757, he painted a series of four paintings titled Four Times of the Day depicting, not surprisingly, throughout his life Vernet returned to Italian themes, as shown through one of his later works – A Beached Whale. Amongst the very numerous engravers of his works may be specially cited Le Bas, Cochin, Basan, Duret, Flipart and Le Veau in France and this article incorporates text from a publication now in the public domain, Chisholm, Hugh, ed. Vernet. Life and works of Vernet C. J. Vernet online
Joseph Vernet
–
Joseph Vernet, by
Élisabeth Vigée-Lebrun
Joseph Vernet
–
The Shipwreck (1772),
National Gallery of Art,
Washington D.C
Joseph Vernet
–
View of Dieppe
Joseph Vernet
–
The Night
11.
Louvre
–
The Louvre or the Louvre Museum is the worlds largest museum and a historic monument in Paris, France. A central landmark of the city, it is located on the Right Bank of the Seine in the citys 1st arrondissement, approximately 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square metres. The Louvre is the second most visited museum after the Palace Museum in China. The museum is housed in the Louvre Palace, originally built as a fortress in the late 12th century under Philip II, remnants of the fortress are visible in the basement of the museum. Due to the expansion of the city, the fortress eventually lost its defensive function and. The building was extended many times to form the present Louvre Palace, in 1692, the building was occupied by the Académie des Inscriptions et Belles Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years, during the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nations masterpieces. The museum opened on 10 August 1793 with an exhibition of 537 paintings, because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under Napoleon and the museum renamed Musée Napoléon, the collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic, whether this was the first building on that spot is not known, it is possible that Philip modified an existing tower. According to the authoritative Grand Larousse encyclopédique, the name derives from an association with wolf hunting den, in the 7th century, St. Fare, an abbess in Meaux, left part of her Villa called Luvra situated in the region of Paris to a monastery. This territory probably did not correspond exactly to the modern site, the Louvre Palace was altered frequently throughout the Middle Ages. In the 14th century, Charles V converted the building into a residence and in 1546, Francis acquired what would become the nucleus of the Louvres holdings, his acquisitions including Leonardo da Vincis Mona Lisa. After Louis XIV chose Versailles as his residence in 1682, constructions slowed, however, on 14 October 1750, Louis XV agreed and sanctioned a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. Under Louis XVI, the museum idea became policy. The comte dAngiviller broadened the collection and in 1776 proposed conversion of the Grande Galerie of the Louvre – which contained maps – into the French Museum, many proposals were offered for the Louvres renovation into a museum, however, none was agreed on. Hence the museum remained incomplete until the French Revolution, during the French Revolution the Louvre was transformed into a public museum. In May 1791, the Assembly declared that the Louvre would be a place for bringing together monuments of all the sciences, on 10 August 1792, Louis XVI was imprisoned and the royal collection in the Louvre became national property
Louvre
–
the Richelieu wing (2005)
Louvre
–
The only portion of the medieval Louvre still visible
Louvre
–
Antonio Canova 's
Psyche Revived by Cupid's Kiss was commissioned in 1787, donated in 1824.
Louvre
–
The
Venus de Milo was added to the Louvre's collection during the reign of
Louis XVIII.
12.
Denis Diderot
–
Denis Diderot was a French philosopher, art critic, and writer. He was a prominent figure during the Enlightenment and is best known for serving as co-founder, chief editor, Denis Diderot was born in Langres, Champagne, and began his formal education at a Jesuit collège in Langres. His parents were Didier Diderot a cutler, maître coutelier, three of five siblings survived to adulthood, Denise Diderot and their youngest brother Pierre-Didier Diderot, and finally their sister Angélique Diderot. According to Arthur McCandless Wilson, Denis Diderot greatly admired his sister Denise, in 1732 Denis Diderot earned the Master of Arts degree in philosophy. Then he entered the Collège dHarcourt of the University of Paris and he abandoned the idea of entering the clergy and decided instead to study at the Paris Law Faculty. His study of law was short-lived however and in 1734 Diderot decided to become a writer, because of his refusal to enter one of the learned professions, he was disowned by his father, and for the next ten years he lived a bohemian existence. In 1742 he befriended Jean-Jacques Rousseau, in 1743 he further alienated his father by marrying Antoinette Champion, a devout Roman Catholic. The match was considered due to Champions low social standing, poor education, fatherless status. She was about three years older than Diderot, the marriage in October 1743 produced one surviving child, a girl. Her name was Angélique, after both Diderots dead mother and sister, the death of his sister, a nun, from overwork in the convent may have affected Diderots opinion of religion. Babuti, Madeleine de Puisieux, Sophie Volland and Mme de Maux and his letters to Sophie Volland are known for their candor and are regarded to be among the literary treasures of the eighteenth century. Though his work was broad as well as rigorous, it did not bring Diderot riches, when the time came for him to provide a dowry for his daughter, he saw no alternative than to sell his library. When Empress Catherine II of Russia heard of his financial troubles she commissioned an agent in Paris to buy the library and she then requested that the philosopher retain the books in Paris until she required them, and act as her librarian with a yearly salary. Between October 1773 and March 1774, the sick Diderot spent a few months at the court in Saint Petersburg. Diderot died of thrombosis in Paris on 31 July 1784. His heirs sent his vast library to Catherine II, who had it deposited at the National Library of Russia and this idea seems to have been shelved. In 1745, he published a translation of Shaftesburys Inquiry Concerning Virtue and Merit, in 1746, Diderot wrote his first original work, the Philosophical Thoughts. In this book, Diderot argued for a reconciliation of reason with feeling so as to establish harmony, according to Diderot, without feeling there would be a detrimental effect on virtue and no possibility of creating sublime work
Denis Diderot
–
n° 9 de la place dans le centre ville de Langres in the background on the right side the birthplace of Denis Diderot
Denis Diderot
–
Diderot, by
Louis-Michel van Loo, 1767.
Denis Diderot
–
Title page of the
Encyclopédie
Denis Diderot
–
Statue of Denis Diderot in the city of
Langres, his birthplace
13.
Nationalmuseum
–
Nationalmuseum is the national gallery of Sweden, located on the peninsula Blasieholmen in central Stockholm. The museums benefactors include King Gustav III and Carl Gustaf Tessin, the museum also has an art library, open to the public and academics alike. The current building, built between 1844 and 1866, was inspired by North Italian Renaissance architecture and it is the design of the German architect Friedrich August Stüler, who also designed the Neues Museum in Berlin. The relatively closed exterior, save for the entrance, gives no hint of the spacious interior dominated by the huge flight of stairs leading up to the topmost galleries. The museum was enlarged in 1961 to accommodate the museum workshops, the present restaurant was instated in 1996. The museum building closed for renovation in 2013 and is scheduled to reopen in 2018, the Conspiracy of Claudius Civilis by Rembrandt Midvinterblot by Carl Larsson Vid bäcken by Peter Adolf Persson Hallwyl Palace Swedish Museum of National Antiquities Johan Mårtelius. Stockholm, Arkitektur Förlag AB. p.67
Nationalmuseum
–
National museum
14.
Palace of Versailles
–
The Palace of Versailles, Château de Versailles, or simply Versailles, is a royal château in Versailles in the Île-de-France region of France. Versailles is therefore not only as a building, but as a symbol of the system of absolute monarchy of the Ancien Régime. First built by Louis XIII in 1623, as a lodge of brick and stone. The first phase of the expansion was designed and supervised by the architect Louis Le Vau and it culminated in the addition of three new wings of stone, which surrounded Louis XIIIs original building on the north, south, and west. After Le Vaus death in 1670, the work was taken over and completed by his assistant, charles Le Brun designed and supervised the elaborate interior decoration, and André Le Nôtre landscaped the extensive Gardens of Versailles. Le Brun and Le Nôtre collaborated on the fountains, and Le Brun supervised the design. During the second phase of expansion, two enormous wings north and south of the wings flanking the Cour Royale were added by the architect Jules Hardouin-Mansart. He also replaced Le Vaus large terrace, facing the garden on the west, with became the most famous room of the palace. The Royal Chapel of Versailles, located at the end of the north wing, was begun by Mansart in 1688. One of the most baffling aspects to the study of Versailles is the cost – how much Louis XIV, owing to the nature of the construction of Versailles and the evolution of the role of the palace, construction costs were essentially a private matter. Initially, Versailles was planned to be a residence for Louis XIV and was referred to as the kings house. Once Louis XIV embarked on his campaigns, expenses for Versailles became more of a matter for public record. To counter the costs of Versailles during the years of Louis XIVs personal reign. Accordingly, all materials that went into the construction and decoration of Versailles were manufactured in France, even the mirrors used in the decoration of the Hall of Mirrors were made in France. While Venice in the 17th century had the monopoly on the manufacture of mirrors, to meet the demands for decorating and furnishing Versailles, Colbert nationalised the tapestry factory owned by the Gobelin family, to become the Manufacture royale des Gobelins. In 1667, the name of the enterprise was changed to the Manufacture royale des Meubles de la Couronne, the Comptes meticulously list the expenditures on the silver furniture – disbursements to artists, final payments, delivery – as well as descriptions and weight of items purchased. Entries for 1681 and 1682 concerning the silver used in the salon de Mercure serve as an example. 5 In anticipation, For the silver balustrade for the bedroom,90,000 livres II
Palace of Versailles
–
Aerial view of the Palace from above the
Gardens of Versailles
Palace of Versailles
–
Bust of Louis XIV by
Bernini in the
Diana Salon of the Palace of Versailles
Palace of Versailles
–
View of the Palace from the garden
Palace of Versailles
–
Marble Court
15.
Lorraine (province)
–
The Duchy of Lorraine, originally Upper Lorraine, was a duchy now included in the larger present-day region of Lorraine in northeastern France. It was founded in 959 following the division of Lotharingia into two duchies, Upper and Lower Lorraine, the westernmost parts of the Holy Roman Empire. The Lower duchy was quickly dismantled, while Upper Lorraine came to be known as simply the Duchy of Lorraine, the Duchy of Lorraine was coveted and briefly occupied by the Dukes of Burgundy and the Kings of France. When Stanisław died on 23 February 1766, Lorraine was annexed by France, lorraines predecessor, Lotharingia, was an independent Carolingian kingdom under the rule of King Lothair II. Its territory had originally been a part of Middle Francia, created in 843 by the Treaty of Verdun, Middle Francia was allotted to Emperor Lothair I, therefore called Lotharii Regnum. On his death in 855, it was divided into three parts, of which his son Lothair II took the northern one. His realm then comprised a territory stretching from the County of Burgundy in the south to the North Sea. In French, this became known as Lorraine, while in German. In the Alemannic language once spoken in Lorraine, the -ingen suffix signified a property, thus, in a figurative sense, stuck in the conflict with his rival Hugh the Great, in 942 King Louis IV of France renounced all claims to Lotharingia. In 953, the German king Otto I had appointed his brother Bruno the Great Duke of Lotharingia, in 959, Bruno divided the duchy into Upper and Lower Lorraine, this division became permanent following his death in 965. The Upper Duchy was further up the system, that is, it was inland. Upper Lorraine was first denominated as the Duchy of the Moselle, the usage of Lotharingia Superioris and Lorraine in official documents begins later, around the fifteenth century. The first duke and deputy of Bruno was Frederick I of Bar, Lower Lorraine disintegrated into several smaller territories and only the title of a Duke of Lothier remained, held by Brabant. After the duchy of the Moselle came into the possession of René of Anjou, the name Duchy of Lorraine was adopted again, only retrospectively called Upper Lorraine. At that time, several territories had already split off, such as the County of Luxembourg, the Electorate of Trier, the County of Bar, the border between the Empire and the Kingdom of France remained relatively stable throughout the Middle Ages. In 1301, Count Henry III of Bar had to receive the part of his lands as a fief by King Philip IV of France. In 1475, the Burgundian duke Charles the Bold campaigned for the Duchy of Lorraine, in the 1552 Treaty of Chambord, a number of insurgent Protestant Imperial princes around Elector Maurice of Saxony ceded the Three Bishoprics to King Henry II of France in turn for his support. In the 17th century, the French kings began to covet Lorraine, while the central Imperial authority decayed in the course of the Thirty Years War, Chief Minister Cardinal Richelieu urged the occupation of the duchy in 1641
Lorraine (province)
–
1618-1648
Lorraine (province)
–
Flag
16.
Bourgeoisie
–
A legally defined class of the Middle Ages to the end of the Ancien Régime in France, that of inhabitants having the rights of citizenship and political rights in a city. This bourgeoisie destroyed aristocratic privilege and established civic equality after the French monarchy collapsed, the aristocracy crumbled because it refused to reform institutions and financial systems. An affluent and often opulent stratum of the class who stand opposite the proletariat class. In English, bourgeoisie identified a social class oriented to economic materialism and hedonism, hence, since the 19th century, the term bourgeoisie usually is politically and sociologically synonymous with the ruling upper class of a capitalist society. The 18th century saw a partial rehabilitation of bourgeois values in such as the drame bourgeois and bourgeois tragedy. The bourgeoisie emerged as a historical and political phenomenon in the 11th century when the bourgs of Central and this urban expansion was possible thanks to economic concentration due to the appearance of protective self-organisation into guilds. Guilds arose when individual businessmen conflicted with their feudal landlords who demanded greater rents than previously agreed. In English, the bourgeoisie is often used to denote the middle classes. In fact, the French term encompasses both the upper and middle classes, a misunderstanding which has occurred in other languages as well. The bourgeoisie in France and many French-speaking countries consists of four evolving social layers, petite bourgeoisie, moyenne bourgeoisie, grande bourgeoisie, the petite bourgeoisie consists of people who have experienced a brief ascension in social mobility for one or two generations. It usually starts with a trade or craft, and by the second and third generation, the petite bourgeois would belong to the British lower middle class and would be American middle income. They are distinguished mainly by their mentality, and would differentiate themselves from the proletariat or working class and this class would include artisans, small traders, shopkeepers, and small farm owners. They are not employed, but may not be able to afford employees themselves, the moyenne bourgeoisie or middle bourgeoisie contains people who have solid incomes and assets, but not the aura of those who have become established at a higher level. They tend to belong to a family that has been bourgeois for three or more generations, some members of this class may have relatives from similar backgrounds, or may even have aristocratic connections. The moyenne bourgeoisie is the equivalent of the British and American upper-middle classes, the grande bourgeoisie are families that have been bourgeois since the 19th century, or for at least four or five generations. Members of these tend to marry with the aristocracy or make other advantageous marriages. This bourgeoisie family has acquired an established historical and cultural heritage over the decades, the names of these families are generally known in the city where they reside, and their ancestors have often contributed to the regions history. These families are respected and revered and they belong to the upper class, and in the British class system are considered part of the gentry
Bourgeoisie
–
The prototypical bourgeois: Monsieur Jourdain, the protagonist in
Molière 's play
Le Bourgeois gentilhomme (1670).
Bourgeoisie
–
The 16th-century German banker
Jakob Fugger and his principal accountant, M. Schwarz, registering an entry to a ledger. The background shows a file cabinet indicating the European cities where the Fugger Banker conducts business. (1517)
Bourgeoisie
–
Thomas Mann (1875–1955) portrayed the moral, intellectual, and physical decadence of the German upper bourgeoisie in the novel
Buddenbrooks (1926)
17.
Noblesse de robe
–
Under the Old Regime of France, the Nobles of the Robe or Nobles of the Gown were French aristocrats whose rank came from holding certain judicial or administrative posts. As a rule, the positions did not of themselves give the holder a title of nobility, such as baron, count, or duke, the offices were often hereditary, and by 1789, most had inherited their positions. The most influential of them were the 1,100 members of the 13 parlements, together with the older nobility, the Nobles of the Robe made up the Second Estate in pre-revolutionary France. Because these nobles, especially the judges, had studied at a university they were called Nobles of the Robe after the robes or gowns scholars wore. Originally given out as rewards for services to the king, the offices became venal and this practice became official with the edict of la Paulette, the Paulette being the tax paid by the holder to keep the office hereditary. As hereditary offices, they were passed from father to son creating a class consciousness. Nobles of the Robe were often considered by Nobles of the Sword to be of inferior rank because their status was not derived from military service and/or land ownership. The elite Nobles of the Robe, such as the members of the parlements, originally, the offices within the Nobles of the Robe were relatively accessible due to their venal nature. In the 17th century, the office of councillor in the Parlement sold for 100,000 livres, by the mid-18th century, its value was reduced to half, due to the proliferation of offices. However, after the 17th century the descendants of those who had earned the rank as a reward for services to the monarchy fought to limit access to the class. The Nobles of the Robe protested heavily when the monarchy, in desperate need of money, a common family strategy was to designate a second or third son to enter the church while the elder sons pursued a career in the robe or the military. Access to nobility through a judiciary office hence became practically barred in the 18th century, but there existed other offices for sale, a secrétaire-conseiller du roi acquired first-degree nobility immediately, and hereditary nobility after 20 years. The office was not cheap, but it was a sinecure, with no preconditions, real nobility looked down on it as a savonette à vilain. Antoine Crozat, having become wealthy, but a mere son of peasants. In some parts of France, the new baron or vicomte must be registered by the Estates, Nobles of the Robe played key roles in the French Enlightenment. The most famous, Montesquieu, was one of the earliest Enlightenment figures, during the French Revolution, the Nobles of the Robe lost their place when the parlements and lower courts were abolished in 1790
Noblesse de robe
–
Charles-Alexandre de Calonne by
Élisabeth-Louise Vigée-Le Brun (1784) London,
Royal Collection
Noblesse de robe
–
The new nobleman may acquire a fief and assume the title - which may need to be registered with
The Estates.
18.
Public sphere
–
The public sphere is an area in social life where individuals can come together to freely discuss and identify societal problems, and through that discussion influence political action. The public sphere can be seen as a theater in modern societies in which participation is enacted through the medium of talk. This new public sphere spanned the public and the private realms and this area is conceptually distinct from the state, it a site for the production and circulation of discourses that can in principle be critical of the state. These distinctions between state apparatuses, economic markets, and democratic associations. are essential to democratic theory, the people themselves came to see the public sphere as a regulatory institution against the authority of the state. The study of the sphere centers on the idea of participatory democracy. Democratic governance rests on the capacity of and opportunity for citizens to engage in enlightened debate, what does it mean that something is public. Jürgen Habermas says, We call events and occasions public when they are open to all and this notion of the public becomes evident in terms such as public health, public education, public opinion or public ownership. They are opposed to the notions of private health, private education, private opinion, the notion of the public is intrinsically connected to the notion of the private. Habermas stresses that the notion of the public is related to the notion of the common, for Hannah Arendt, the public sphere is therefore the common world that gathers us together and yet prevents our falling over each other. Habermas defines the sphere as a society engaged in critical public debate. Conditions of the sphere are according to Habermas, The formation of public opinion All citizens have access. Conference in unrestricted fashion about matters of general interest, which implies freedom from economic, debate over the general rules governing relations. The work is considered the foundation of contemporary public sphere theories. In his historical analysis, Habermas points out three so-called institutional criteria as preconditions for the emergence of the new public sphere, if not realized, it was at least consequential. Discussion within such a public presupposed the problematization of areas that then had not been questioned. The domain of ‘common concern’ which was the object of critical attention remained a preserve in which church. The issues discussed became ‘general’ not merely in their significance, but also in their accessibility, Habermas argued that the bourgeois society cultivated and upheld these criteria. The public sphere was well established in locations including coffee shops and salons, areas of society where various people could gather
Public sphere
–
A
coffeehouse discussion
Public sphere
–
Parliamentary action under
Charles VII of France
Public sphere
–
A Society of Patriotic Ladies at Edenton in North Carolina,
satirical drawing of a women's counterpublic in action in the
1775 tea boycott
Public sphere
–
Demonstration against
French nuclear tests in 1995 in Paris "This interaction can take the form of... basic "street rhetoric" that "open[s] a dialogue between competing factions."
19.
Reign of Terror
–
The Reign of Terror or The Terror, is the label given by some historians to a period of violence during the French Revolution. Different historians place the date at either 5 September 1793 or June 1793 or March 1793 or September 1792 or July 1789. Between June 1793 and the end of July 1794, there were 16,594 official death sentences in France, but the total number of deaths in France in 1793–96 in only the civil war in the Vendée is estimated at 250,000 counter-revolutionaries and 200,000 republicans. During 1794, revolutionary France was beset with conspiracies by internal, within France, the revolution was opposed by the French nobility, which had lost its inherited privileges. The Catholic Church opposed the revolution, which had turned the clergy into employees of the state, in addition, the French First Republic was engaged in a series of wars with neighboring powers, and parts of France were engaging in civil war against the loyalist regime. The latter were grouped in the parliamentary faction called the Mountain. Through the Revolutionary Tribunal, the Terrors leaders exercised broad powers, the Reign was a manifestation of the strong strain on centralized power. Many historians have debated the reasons the French Revolution took such a turn during the Reign of Terror of 1793–94. The public was frustrated that the equality and anti-poverty measures that the revolution originally promised were not materializing. Jacques Rouxs Manifesto of the Enraged on 25 June 1793, describes the extent to which, four years into the revolution, the foundation of the Terror is centered on the April 1793 creation of the Committee of Public Safety and its militant Jacobin delegates. Those in power believed the Committee of Public Safety was an unfortunate, according to Mathiez, they touched only with trepidation and reluctance the regime established by the Constituent Assembly so as not to interfere with the early accomplishments of the revolution. Similar to Mathiez, Richard Cobb introduced competing circumstances of revolt, counter-revolutionary rebellions taking place in Lyon, Brittany, Vendée, Nantes, and Marseille were threatening the revolution with royalist ideas. Cobb writes, the revolutionaries themselves, living as if in combat… were easily persuaded that only terror, Terror was used in these rebellions both to execute inciters and to provide a very visible example to those who might be considering rebellion. Cobb agrees with Mathiez that the Terror was simply a response to circumstances, at the same time, Cobb rejects Mathiezs Marxist interpretation that elites controlled the Reign of Terror to the significant benefit of the bourgeoisie. Instead, Cobb argues that social struggles between the classes were seldom the reason for actions and sentiments. Widespread terror and a consequent rise in executions came after external and internal threats were vastly reduced, with the backing of the national guard, they persuaded the convention to arrest 29 Girondist leaders, including Jacques Pierre Brissot. On 13 July the assassination of Jean-Paul Marat – a Jacobin leader, georges Danton, the leader of the August 1792 uprising against the king, was removed from the committee. The Jacobins identified themselves with the movement and the sans-culottes
Reign of Terror
–
Nine emigrants are executed by guillotine, 1793
Reign of Terror
–
Heads of aristocrats, on spikes (pikes)
Reign of Terror
–
Maximilien Robespierre had others executed via his role on the
Revolutionary Tribunal and the
Committee of Public Safety
Reign of Terror
–
A
satirical engraving of
Robespierre guillotining the executioner after having
guillotined everyone else in France
20.
French monarchy
–
The monarchs of the Kingdom of France and its predecessors ruled from the establishment of the Kingdom of the Franks in 486 till the fall of the Second French Empire in 1870. Sometimes included as kings of France are the kings of the Franks of the Merovingian dynasty, which ruled from 486 until 751, and of the Carolingians, who ruled until 987. The Capetian dynasty, the descendants of Hugh Capet, included the first rulers to adopt the title of king of France for the first time with Philip II. The Capetians ruled continuously from 987 to 1792 and again from 1814 to 1848, the branches of the dynasty which ruled after 1328, however, are generally given the specific branch names of Valois and Bourbon. During the brief period when the French Constitution of 1791 was in effect and after the July Revolution in 1830 and it was a constitutional innovation known as popular monarchy which linked the monarchs title to the French people rather than to the possession of the territory of France. With the House of Bonaparte Emperors of the French ruled in 19th century France and it was used on coins up to the eighteenth century. During the brief period when the French Constitution of 1791 was in effect and after the July Revolution in 1830 and it was a constitutional innovation known as popular monarchy which linked the monarchs title to the French people rather than to the possession of the territory of France. They used the title Emperor of the French and this article lists all rulers to have held the title King of the Franks, King of France, King of the French or Emperor of the French. For other Frankish monarchs, see List of Frankish kings, in addition to the monarchs listed below, the Kings of England and Great Britain from 1340–60, 1369-1420, and 1422–1801 also claimed the title of King of France. For a short time, this had some basis in fact – under the terms of the 1420 Treaty of Troyes, Charles VI had recognized his son-in-law Henry V of England as regent and heir. Henry V predeceased Charles VI and so Henry Vs son, Henry VI, most of Northern France was under English control until 1435, but by 1453, the English had been expelled from all of France save Calais, and Calais itself fell in 1558. Nevertheless, English and then British monarchs continued to claim the title for themselves until the creation of the United Kingdom in 1801. The Merovingians were a Salian Frankish dynasty that ruled the Franks for nearly 300 years in a known as Francia in Latin. Their territory largely corresponded to ancient Gaul as well as the Roman provinces of Raetia, Germania Superior, the Carolingian dynasty was a Frankish noble family with origins in the Arnulfing and Pippinid clans of the 7th century AD. In 751, a Carolingian, Pepin the Younger, dethroned the Merovingians and with the consent of the Papacy, the Robertians were Frankish noblemen owing fealty to the Carolingians, and ancestors of the subsequent Capetian dynasty. Odo, Count of Paris, was chosen by the western Franks to be their king following the removal of emperor Charles the Fat, the Bosonids were a noble family descended from Boso the Elder, their member, Rudolph, was elected King of the Franks in 923. After the death of Louis V, the son of Hugh the Great and grandson of Robert I, the Capetian Dynasty, the male-line descendants of Hugh Capet, ruled France continuously from 987 to 1792 and again from 1814 to 1848. They were direct descendants of the Robertian kings, the cadet branches of the dynasty which ruled after 1328, however, are generally given the specific branch names of Valois and Bourbon
French monarchy
–
Clovis I (Clovis Ier)
French monarchy
–
Royal Coat of arms
French monarchy
–
Theuderic I (Thierry Ier)
French monarchy
–
Theudebert I (Thibert Ier)
21.
Paris Salon
–
The Salon, or rarely Paris Salon, beginning in 1667 was the official art exhibition of the Académie des Beaux-Arts in Paris. Between 1748 and 1890 it was arguably the greatest annual or biennial art event in the Western world, at the 1761 Salon, thirty-three painters, nine sculptors, and eleven engravers contributed. From 1881 onward, it has been managed by the Société des Artistes Français, in 1667, the royally sanctioned French institution of art patronage, the Académie royale de peinture et de sculpture, held its first semi-public art exhibit at the Salon Carré. The Salons original focus was the display of the work of recent graduates of the École des Beaux-Arts, exhibition at the Salon de Paris was essential for any artist to achieve success in France for at least the next 200 years. Exhibition in the Salon marked a sign of royal favor, in 1725, the Salon was held in the Palace of the Louvre, when it became known as Salon or Salon de Paris. In 1737, the exhibitions, held from 18 August 1737 to 5 September 1737 at the Grand Salon of the Louvre and they were held, at first, annually, and then biennially, in odd-numbered years. They would start on the feast day of St. Louis, once made regular and public, the Salons status was never seriously in doubt. In 1748 a jury of awarded artists was introduced, from this time forward, the influence of the Salon was undisputed. The Salon exhibited paintings floor-to-ceiling and on every inch of space. The jostling of artwork became the subject of other paintings. Printed catalogues of the Salons are primary documents for art historians, critical descriptions of the exhibitions published in the gazettes mark the beginning of the modern occupation of art critic. The French revolution opened the exhibition to foreign artists, the vernissage of opening night was a grand social occasion, and a crush that gave subject matter to newspaper caricaturists like Honoré Daumier. Charles Baudelaire, Denis Diderot and others wrote reviews of the Salons, the 1848 revolution liberalized the Salon. The amount of refused works was greatly reduced, the increasingly conservative and academic juries were not receptive to the Impressionist painters, whose works were usually rejected, or poorly placed if accepted. The Salon opposed the Impressionists shift away from traditional painting styles, in 1863 the Salon jury turned away an unusually high number of the submitted paintings. An uproar resulted, particularly from regular exhibitors who had been rejected, in order to prove that the Salons were democratic, Napoleon III instituted the Salon des Refusés, containing a selection of the works that the Salon had rejected that year. It opened on 17 May 1863, marking the birth of the avant-garde, the Impressionists held their own independent exhibitions in 1874,1876,1877,1879,1880,1881,1882 and 1886. In 1881, the government withdrew official sponsorship from the annual Salon, in December 1890, the leader of the Société des Artistes Français, William-Adolphe Bouguereau, propagated the idea that Salon should be an exhibition of young, not-yet awarded, artists
Paris Salon
–
Formally dressed patrons at the Salon in 1890
Paris Salon
–
This portrait by
John Singer Sargent of
Virginie Amélie Avegno Gautreau depicting her
cleavage caused considerable controversy when it was displayed at the 1884 Salon.
Paris Salon
–
Salon of 1932, Grand Palais, Paris.
Paris Salon
–
Salon of 1753
22.
King Louis XVIII
–
Louis XVIII, known as The Desired, was a monarch of the House of Bourbon who ruled as King of France from 1814 to 1824 except for a period in 1815 known as the Hundred Days. Until his accession to the throne of France, Louis held the title of Count of Provence as brother of King Louis XVI, on 21 September 1792, the National Convention abolished the monarchy and deposed King Louis XVI, who was later executed by guillotine. When the young Louis XVII, Louis XVIs son, died in prison in June 1795, during the French Revolution and Napoleonic era, Louis XVIII lived in exile in Prussia, the United Kingdom and Russia. When the Sixth Coalition finally defeated Napoleon in 1814, Louis was placed in what he, Napoleon escaped from his exile in Elba, however, and restored his French Empire. Louis XVIII fled and a Seventh Coalition declared war on the French Empire, defeated Napoleon, Louis XVIII ruled as king for slightly less than a decade. The Bourbon Restoration regime was a constitutional monarchy, as a constitutional monarch, Louis XVIIIs royal prerogative was reduced substantially by the Charter of 1814, Frances new constitution. Louis had no children, therefore, upon his death, the passed to his brother, Charles. Louis XVIII was the last French monarch to die while reigning, as his successor Charles X abdicated and both Louis Philippe I and Napoléon III were deposed. Louis Stanislas Xavier, styled Count of Provence from birth, was born on 17 November 1755 in the Palace of Versailles, the son of Louis, Dauphin of France and he was the grandson of the reigning King Louis XV. As a son of the Dauphin he was a Fils de France, Louis Stanislas was christened Louis Stanislas Xavier six months after his birth in accordance with Bourbon family tradition, being nameless before his baptism. By this act, he also a Knight of the Order of the Holy Spirit. The former died in 1761, leaving Louis Auguste as heir to their father until the Dauphins own premature death in 1765, the two deaths elevated Louis Stanislas to second in the line of succession, while Louis Auguste acquired the title Dauphin. Louis Stanislas found comfort in his governess, Madame de Marsan, Governess of the Children of France, as he was her favourite among his siblings. Louis Stanislas was taken away from his governess when he turned seven, Antoine de Quélen de Stuer de Caussade, Duke of La Vauguyon, a friend of his father, was named his governor. Louis Stanislas was an intelligent boy, excelling in classics and his education was of the same quality and consistency as that of his older brother, Louis Auguste, despite the fact that Louis Auguste was heir and Louis Stanislas was not. Louis Stanislas education was religious in nature, several of his teachers were men of the cloth. La Vauguyon drilled into young Louis Stanislas and his brothers the way he thought princes should know how to withdraw themselves, to like to work, and to know how to reason correctly. In the same month his household was founded, Louis was granted titles by his grandfather, Louis XV, Duke of Anjou, Count of Maine, Count of Perche
King Louis XVIII
–
Portrait by
Robert Lefèvre, c.1822
King Louis XVIII
–
Signature
King Louis XVIII
–
Portrait of the young Count of Provence
King Louis XVIII
–
Louis, Count of Provence
23.
House of Bourbon
–
The House of Bourbon is a European royal house of French origin, a branch of the Capetian dynasty. Bourbon kings first ruled France and Navarre in the 16th century, by the 18th century, members of the Bourbon dynasty also held thrones in Spain, Naples, Sicily, and Parma. Spain and Luxembourg currently have Bourbon monarchs, the royal Bourbons originated in 1268, when the heiress of the lordship of Bourbon married a younger son of King Louis IX. The house continued for three centuries as a branch, while more senior Capetians ruled France, until Henry IV became the first Bourbon king of France in 1589. Restored briefly in 1814 and definitively in 1815 after the fall of the First French Empire, a cadet Bourbon branch, the House of Orléans, then ruled for 18 years, until it too was overthrown. The Princes de Condé were a branch of the Bourbons descended from an uncle of Henry IV. Both houses were prominent in French affairs, even during exile in the French Revolution, until their respective extinctions in 1830 and 1814. When the Bourbons inherited the strongest claim to the Spanish throne, the claim was passed to a cadet Bourbon prince, a grandson of Louis XIV of France, who became Philip V of Spain. The Spanish House of Bourbon has been overthrown and restored several times, reigning 1700–1808, 1813–1868, 1875–1931, Bourbons ruled in Naples from 1734–1806 and in Sicily from 1734–1816, and in a unified Kingdom of the Two Sicilies from 1816–1860. They also ruled in Parma from 1731–1735, 1748–1802 and 1847–1859, all legitimate, living members of the House of Bourbon, including its cadet branches, are direct agnatic descendants of Henry IV. The term House of Bourbon is sometimes used to refer to this first house and the House of Bourbon-Dampierre, the second family to rule the seigneury. In 1268, Robert, Count of Clermont, sixth son of King Louis IX of France, married Beatrix of Bourbon, heiress to the lordship of Bourbon and their son Louis was made Duke of Bourbon in 1327. His descendant, the Constable of France Charles de Bourbon, was the last of the senior Bourbon line when he died in 1527. Because he chose to fight under the banner of Holy Roman Emperor Charles V and lived in exile from France, the remaining line of Bourbons henceforth descended from James I, Count of La Marche, the younger son of Louis I, Duke of Bourbon. With the death of his grandson James II, Count of La Marche in 1438, all future Bourbons would descend from James IIs younger brother, Louis, who became the Count of Vendôme through his mothers inheritance. In 1514, Charles, Count of Vendôme had his title raised to Duke of Vendôme and his son Antoine became King of Navarre, on the northern side of the Pyrenees, by marriage in 1555. Two of Antoines younger brothers were Cardinal Archbishop Charles de Bourbon, Louis male-line, the Princes de Condé, survived until 1830. Finally, in 1589, the House of Valois died out and he was born on 13 December 1553 in the Kingdom of Navarre
House of Bourbon
–
The castle of
Bourbon-l'Archambault
House of Bourbon
–
House of Bourbon
House of Bourbon
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Henry IV of France, the first Bourbon King of France
House of Bourbon
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Dynastic group portrait of Louis XIV (seated) with his son
le Grand Dauphin (to the left), his grandson
Louis, Duke of Burgundy (to the right), his great-grandson the duc d'Anjou, later Louis XV, and
Madame de Ventadour, his governess, who commissioned this painting some years later; busts of
Henry IV and
Louis XIII in the background.
24.
Aristocracy
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Aristocracy is a form of government that places power in the hands of a small, privileged ruling class. The term derives from the Greek aristokratia, meaning rule of the best, at the time of the words origins in Ancient Greece, the Greeks conceived it as rule by the best qualified citizens—and often contrasted it favourably with monarchy, rule by an individual. In later times, aristocracy was usually seen as rule by a group, the aristocratic class. The Greeks did not like the concept of monarchy, and as their democratic system fell, in Ancient Rome, the Republic consisted of an aristocracy—as well as consuls, a senate, and a tribal assembly. In the Middle Ages and early modern era, aristocracies primarily consisted of an aristocratic class, privileged by birth. Since the French Revolution, aristocracy has generally been contrasted with democracy, however, this distinction is often oversimplified. In exchange feudal aid is received from tenants or vassals, oaths of military allegiance, however an oligarchy, nobility or royalty had the right to set taxes, assemble or raise armies and command loyalty by virtue of traditional authority. In the 1651 book Leviathan, Thomas Hobbes describes an aristocracy as a commonwealth in which the representative of the citizens is an assembly by part and it is a system in which only a small part of the population represents the government. Modern depictions of aristocracy tend to regard it not as the ancient Greek concept of rule by the best, history, John Cannon, Oxford University Press,1997, ISBN 978-0-19-866176-4 Aristocracy in the Modern World, Ellis Wasson, Palgrave Macmillan,2006
Aristocracy
–
Throughout the centuries
kings of Poland were elected by the
nobility in the fields outside
Warsaw
25.
National Gallery of Art
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The National Gallery of Art, and its attached Sculpture Garden, is a national art museum in Washington, D. C. located on the National Mall, between 3rd and 9th Streets, at Constitution Avenue NW. Open to the public and free of charge, the museum was established in 1937 for the American people by a joint resolution of the United States Congress. Andrew W. Mellon donated an art collection and funds for construction. The Gallery often presents temporary special exhibitions spanning the world and the history of art and it is one of the largest museums in North America. In 1930 Mellon formed the A. W. Mellon Educational and Charitable Trust, when quizzed by Abbot, he explained that the project was in the hands of the Trust and that its decisions were partly dependent on the attitude of the Government towards the gift. Designed by architect John Russell Pope, the new structure was completed and accepted by President Franklin D. Roosevelt on behalf of the American people on March 17,1941. Neither Mellon nor Pope lived to see the completed, both died in late August 1937, only two months after excavation had begun. At the time of its inception it was the largest marble structure in the world, as anticipated by Mellon, the creation of the National Gallery encouraged the donation of other substantial art collections by a number of private donors. The Gallerys East Building was constructed in the 1970s on much of the land left over from the original congressional joint resolution. It was funded by Mellons children Paul Mellon and Ailsa Mellon Bruce, designed by famed architect I. M. Pei, the contemporary structure was completed in 1978 and was opened on June 1 of that year by President Jimmy Carter. The new building was built to house the Museums collection of paintings, drawings, sculptures. The design received a National Honor Award from the American Institute of Architects in 1981, the final addition to the complex is the National Gallery of Art Sculpture Garden. Completed and opened to the public on May 23,1999, the National Gallery of Art is supported through a private-public partnership. The United States federal government provides funds, through annual appropriations, to support the museums operations, all artwork, as well as special programs, are provided through private donations and funds. The museum is not part of the Smithsonian Institution, noted directors of the National Gallery have included David E. Finley, Jr. John Walker, and J. Carter Brown. Rusty Powell III is the current director, entry to both buildings of the National Gallery of Art is free of charge. From Monday through Saturday, the museum is open from 10 a. m. –5 p. m. it is open from 11 –6 p. m. on Sundays and it is closed on December 25 and January 1. The museum comprises two buildings, the West Building and the East Building linked by an underground passage
National Gallery of Art
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National Gallery of Art
National Gallery of Art
–
The East Building
National Gallery of Art
–
Exhibitions in the West Building
National Gallery of Art
–
Exhibitions in the East Building
26.
Dallas Museum of Art
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The Dallas Museum of Art is a major art museum located in the Arts District of downtown Dallas, Texas, along Woodall Rodgers Freeway between St. Paul and Harwood. In 1984, the museum moved from its previous location in Fair Park to the Arts District, the new building was designed by Edward Larrabee Barnes, the 2007 winner of the American Institute of Architects Gold Medal. The museum collection is made up of more than 24,000 objects and it is also defined by its dynamic exhibition policy and award-winning educational programs. The Mildred R. and Frederick M. Mayer Library contains over 50,000 volumes available to curators, with 159,000 square feet of exhibition spaces, it is one of the largest art museums in the United States. The museums history began with the establishment in 1903 of the Dallas Art Association, frank Reaugh, a Texas artist, saw in the new library the opportunity to display works of art. This idea was championed by May Dickson Exall, who was the first president of the Dallas Public Library. ”The museum’s collections started growing from this moment on and it soon became necessary to find a new permanent home. The museum, renamed the Dallas Museum of Fine Arts in 1932, relocated to a new art deco facility within Fair Park in 1936 and this new facility was designed by a consortium of Dallas architects in consultation with Paul Cret of Philadelphia. It is still possible to visit this building, in 1943, Jerry Bywaters became the director of the museum, a position he held for the next twenty-one years. Artist, art critic, and teacher, Bywaters gave a sense of identity and community to the museum, under Bywaters tenure, impressionist, abstract, and contemporary masterpieces were acquired and the Texas identity of the museum was emphasized. This identity is represented by works by Alexandre Hogue, Olin Herman Travis, Bywaters himself. In 1963, the Dallas Museum of Fine Arts merged with the Dallas Museum of Contemporary Art, rueppel became the director of the newly merged Museum. In 1965, the museum held an exhibition called The Art of Piet Mondrian and one entitled Sculpture, by the late 1970s, the greatly enlarged permanent collection and the ambitious exhibition program fostered a need for a new museum facility. Under Harry Parker’s direction, the museum was able to once again, to its current venue. The $54 million facility, designed by New York architect Edward Larrabee Barnes, was financed by a 1979 City bond election, the project was galvanized by the slogan “A Great City Deserves a Great Museum, ” and the new building opened in January 1984. The museums collections include more than 24,000 works of art from around the world ranging from ancient to modern times and they are conceived as a celebration of the human power of creation. Objects in the museum’s African collection come from West Africa and Central Africa, the objects date primarily from the 16th to the 20th centuries, although the earliest object is a Nok terracotta bust from Nigeria that dates from somewhere between 200 BC to 200 AD. Some works in the collection were created as symbols of leadership and status, the American art collection includes paintings, sculptures, and works on paper from the United States from the colonial period to World War II, and art from Mexico, and Canada. One of the most important pieces in the collection is The Icebergs by Frederic Edwin Church and this painting had long been referred to as a lost masterpiece
Dallas Museum of Art
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Mark di Suvero, Ave, Dallas Museum of Art sculpture garden
Dallas Museum of Art
–
Frederic Church,
The Icebergs, 1861
Dallas Museum of Art
–
Gustave Courbet, Fox In The Snow, 1860, Dallas Museum of Art
Dallas Museum of Art
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Takenouchi no Sukune Meets the Dragon King of the Sea, Japanese, Meiji period, 1879-81
27.
Women artists
–
While women artists have been involved in making art throughout history, their work often has not been as well acknowledged as that of men. Often certain media are associated with artists, such as textile arts. Womens roles in relation to art, of course, vary in different cultures and communities, many art forms considered to be created predominantly by women have been historically dismissed from the art historical canon as craft, as opposed to fine art. Women artists faced challenges due to biases in the mainstream fine art world. They have often encountered difficulties in training, travelling and trading their work, collaboration on large projects was typical. Extrapolation to the artwork and skills of the Paleolithic era suggests that these cultures followed similar patterns, cave paintings of this era often have human hand prints, 75% of which are identifiable as womens. For about three years, the women – and only the women – of Mithila have been making devotional paintings of the gods. It is no exaggeration, then, to say that art is the expression of the most genuine aspect of Indian civilization. The earliest records of western cultures rarely mention specific individuals, although women are depicted in all of the art and some are shown laboring as artists. Ancient references by Homer, Cicero, and Virgil mention the prominent roles of women in textiles, poetry, music, Other women include Timarete, Eirene, Kalypso, Aristarete, Iaia, and Olympias. While only some of their work survives, in Ancient Greek pottery there is a hydria in the Torno Collection in Milan. It is attribute to the Leningrad painter from circa 460-450 B. C. Artists from the Medieval period include Claricia, Diemudus, Ende, Guda, Herrade of Landsberg and Hildegard of Bingen. In the early Medieval period, women worked alongside men. Manuscript illuminations, embroideries, and carved capitals from the period clearly demonstrate examples of women at work in these arts, documents show that they also were brewers, butchers, wool merchants, and iron mongers. Artists of the period, including women, were from a small subset of society whose status allowed them freedom from these more strenuous types of work. Women artists often were of two classes, either wealthy aristocratic women or nuns. Women in the category often created embroideries and textiles, those in the later category often produced illuminations. It is presumed that women were almost entirely responsible for this production, one of the most famous embroideries of the Medieval period is the Bayeux Tapestry, which was embroidered with wool and is 230 feet long
Women artists
–
Adélaïde Labille-Guiard, Self-portrait with two pupils, 1785,
Metropolitan Museum of Art, the two pupils are
Marie-Gabrielle Capet and Carreaux de Rosemond.
Women artists
–
Portrait of a Young Woman Painter by
Jean-Marc Nattier.
Women artists
–
Herrad of Landsberg,
Self portrait from
Hortus deliciarum, ca. 1180
Women artists
–
Hildegard of Bingen, "Universal Man" illumination from Hildegard's Liber Divinorum Operum, 1165
28.
International Standard Book Number
–
The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
International Standard Book Number
–
A 13-digit ISBN, 978-3-16-148410-0, as represented by an
EAN-13 bar code
29.
Union List of Artist Names
–
The Union List of Artist Names is an online database using a controlled vocabulary currently containing around 293,000 names and other information about artists. Names in ULAN may include names, pseudonyms, variant spellings, names in multiple languages. Among these names, one is flagged as the preferred name, the focus of each ULAN record is an artist. Currently there are around 120,000 artists in the ULAN, in the database, each artist record is identified by a unique numeric ID. Linked to each artist record are names, related artists, sources for the data, the temporal coverage of the ULAN ranges from Antiquity to the present and the scope is global. The ULAN includes proper names and associated information about artists, artists may be either individuals or groups of individuals working together. Artists in the ULAN generally represent creators involved in the conception or production of visual arts, repositories and some donors are included as well. Work on the ULAN began in 1984, when the Getty decided to merge, in 1987 the Getty created a department dedicated to compiling and distributing terminology. The ULAN grows and changes via contributions from the user community, although originally intended only for use by Getty projects, the broader art information community outside the Getty expressed a need to use ULAN for cataloging and retrieval. Its scope was broadened to include corporate bodies such as firms and repositories of art. The ULAN was founded under the management of Eleanor Fink, the ULAN has been constructed over the years by numerous members of the user community and an army of dedicated editors, under the supervision of several managers. The ULAN was published in 1994 in hardcopy and machine-readable files, given the growing size and frequency of changes and additions to the ULAN, by 1997 it had become evident that hard-copy publication was impractical. It is now published in automated formats only, in both a searchable online Web interface and in data files available for licensing, final editorial control of the ULAN is maintained by the Getty Vocabulary Program, using well-established editorial rules. The current managers of the ULAN are Patricia Harpring, Managing Editor, entities in the Person facet typically have no children. Entities in the Corporate Body facet may branch into trees, there may be multiple broader contexts, making the ULAN structure polyhierarchical. In addition to the relationships, the ULAN also has equivalent. Contributors to the Getty Vocabularies and implementers of the licensed vocabulary data may consult these guidelines as well
Union List of Artist Names
–
Contents
30.
Virtual International Authority File
–
The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
Virtual International Authority File
–
Screenshot 2012
31.
Integrated Authority File
–
The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives, the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero license, the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format
Integrated Authority File
–
GND screenshot
32.
Netherlands Institute for Art History
–
The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation, archives, and books on Western art from the late Middle Ages until modern times, all of this is open to the public, and much of it has been digitized and is available on their website. The main goal of the bureau is to collect, categorize, via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries. The library owns approximately 450,000 titles, of which ca.150,000 are auction catalogs, there are ca.3,000 magazines, of which 600 are currently running subscriptions. Though most of the text is in Dutch, the record format includes a link to library entries and images of known works. The RKD also manages the Dutch version of the Art and Architecture Thesaurus, the original version is an initiative of the Getty Research Institute in Los Angeles, California. Their bequest formed the basis for both the art collection and the library, which is now housed in the Koninklijke Bibliotheek. Though not all of the holdings have been digitised, much of its metadata is accessible online. The website itself is available in both a Dutch and an English user interface, in the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record, usually of the form, https, for example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number, to reference an artwork page directly, use the code listed at the bottom of the record, usually of the form, https, //rkd. nl/en/explore/images/ followed by the artworks record number. For example, the record number for The Night Watch is 3063. The Art and Architecture Thesaurus also assigns a record for each term, rather, they are used in the databases and the databases can be searched for terms. For example, the painting called The Night Watch is a militia painting, the thesaurus is a set of general terms, but the RKD also contains a database for an alternate form of describing artworks, that today is mostly filled with biblical references. To see all images that depict Miriams dance, the associated iconclass code 71E1232 can be used as a search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
Netherlands Institute for Art History
–
As the logos on the window show, the RKD shares the same building located at
Den Haag Centraal with the National Archives, the Nederlands Letterkundig Museum (nl) (LM), the
Huygens ING, the
Netherlands Music Institute (NMI) and the
Koninklijke Bibliotheek.
