1.
Tony Robert-Fleury
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Tony Robert-Fleury was a French painter, known primarily for historical scenes. He was also a prominent art teacher, with famous artists among his students. He was born just outside Paris, and studied under his father Joseph-Nicolas Robert-Fleury and under Paul Delaroche, in the following year, his Old Women in the Place Navone, Rome was purchased by the Musée du Luxembourg. In 1870, he painted a canvas of Le Dernier Jour de Corinthe and this painting was also purchased by the Musée du Luxembourg, it is on display at the Musée dOrsay. In 1880, he painted a ceiling for the Luxembourg Palace in Paris, Robert-Fleury painted Pinel a la Salpêtrière, which depicts the famed Father of Modern Psychiatry among the inmates of the asylum. Philippe Pinel in 1795, had been named chief doctor at the asylum, he had instituted more charitable and rational treatments, in 1875, Robert-Fleury painted Charlotte Corday at Caen, which shows the woman coming to the passionate conclusion that Marat needed to be murdered. Robert-Fleury taught as professor for many years at the Académie Julian in Paris, Robert-Fleury became president of the Société des artistes français in succession to Bouguereau. He was honoured with Commander of the Legion of Honour in 1907, in 1908 he was elected president of the Taylor Foundation, a position he held until the end of his life. Some of Robert-Fleurys more prominent pupils were, This article incorporates text from a now in the public domain, Chisholm, Hugh
2.
Marie Bashkirtseff
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Marie Bashkirtseff was a Ukrainian diarist, painter, and sculptor. Bashkirtseff was born Maria Konstantinovna Bashkirtseva in Gavrontsi near Poltava to a noble family. As a result, she grew up abroad, traveling with her mother throughout most of Europe, with longer spells in Germany and on the Riviera. Educated privately and with musical talent, she lost her chance at a career as a singer when illness destroyed her voice. She then determined on becoming an artist, and she studied painting in France at the Robert-Fleury studio, the Académie, as one of the few establishments that accepted female students, attracted young women from all over Europe and the United States. Fellow students at the Académie included Anna Bilińska-Bohdanowiczowa and especially Louise Breslau, Bashkirtseff would go on to produce a remarkable, if fairly conventional, body of work in her short lifetime, exhibiting at the Paris Salon as early as 1880 and every year thereafter until her death. In 1884, she exhibited a portrait of Paris slum children entitled The Meeting, Bashkirtseffs best-known works are The Meeting and In the Studio, a portrait of her fellow artists at work. Although a large number of Bashkirtseffs works were destroyed by the Nazis during World War II, in 2000, a U. S. touring exhibition entitled Overcoming All the Obstacles, The Women of Academy Julian featured works by Bashkirtseff and her schoolmates. As a painter, Bashkirtseff took her cue from her friend Jules Bastien-Lepages admiration for realism and naturalism, by unlucky chance, both artists succumbed prematurely to chronic illness in the same year, and the later pages of Bashkirtseffs journal record her visits to the dying painter. Dying of tuberculosis at the age of 25, Bashkirtseff lived just long enough to emerge as an intellectual in Paris in the 1880s, a misandrist, she wrote several articles for Hubertine Auclerts feminist newspaper La Citoyenne in 1881 under the nom de plume Pauline Orrel. One of her most-quoted sayings is Let us love dogs, let us love only dogs, men and cats are unworthy creatures. Bashkirtseff died in Paris in 1884, and she is buried in Cimetière de Passy and her monument is a full-sized artists studio that has been declared a historic monument by the government of France. From approximately the age of 13, Bashkirtseff kept a journal and it has been called a strikingly modern psychological self-portrait of a young, gifted mind, and her urgent prose, which occasionally breaks out into dialogue, remains extremely readable. A consistent theme throughout her journal is her desire to achieve fame. Similarly, When I am dead, my life, which appears to me a remarkable one, in effect, the first half of Bashkirtseffs journal is a coming-of-age story while the second is an account of heroic suffering. Bashkirtseffs journal was first published in 1887, and was only the second diary by a woman published in France to that date, an English translation appeared two years later under the title Marie Bashkirtseff, The Journal of a Young Artist 1860-1884. Translated by Mary J. Serrano, it was abridged and bowdlerized. British Prime Minister William Gladstone referred to her journal as a book without a parallel and it remained popular, eventually spinning off both plays and movies based on her life story, including The Affairs of Maupassant, directed by Henry Koster and released in the United States in 1938
3.
William-Adolphe Bouguereau
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William-Adolphe Bouguereau was a French academic painter and traditionalist. In his realistic genre paintings he used mythological themes, making modern interpretations of classical subjects, during his life he enjoyed significant popularity in France and the United States, was given numerous official honors, and received top prices for his work. As the quintessential salon painter of his generation, he was reviled by the Impressionist avant-garde, by the early twentieth century, Bouguereau and his art fell out of favor with the public, due in part to changing tastes. In the 1980s, a revival of interest in figure painting led to a rediscovery of Bouguereau, throughout the course of his life, Bouguereau executed 822 known finished paintings, although the whereabouts of many are still unknown. William-Adolphe Bouguereau was born in La Rochelle, France, on November 30,1825, into a family of wine, the son of Théodore Bouguereau and Marie Bonnin, known as Adeline, William was brought up a Catholic. He had a brother, Alfred, and a younger sister, Marie. The family moved to Saint-Martin-de-Ré in 1832, another sibling was born in 1834, Kitty. At 12 the boy went to Mortagne to stay with his uncle Eugène, a priest, in 1839 he was sent to study the priesthood at a Catholic college in Pons. Here he was taught to draw and paint by Louis Sage who had studied under Ingres, William reluctantly left his studies to return to his family, now residing in Bordeaux. Here the boy met a local artist, Charles Marionneau, William also worked as a shop assistant, hand-colouring lithographs and making small paintings that were reproduced using chromolithography. He was soon the best pupil in his class and decided to become an artist in Paris, to fund the move, he sold portraits -33 oils in three months. All were unsigned and only one has been traced and he arrived in Paris aged 20 in March 1846. Bouguereau became a student at the École des Beaux-Arts, to supplement his formal training in drawing, he attended anatomical dissections and studied historical costumes and archeology. He was admitted to the studio of François-Édouard Picot, where he studied painting in the academic style and he also studied classical literature, which influenced his subject choice for the rest of his career. In April 1848 the young artist entered the Prix de Rome contest, soon after work began there were riots in Paris and Bouguereau enrolled in the National Guard. After an unsuccessful attempt to win the prize, he entered again in 1849, following 106 days of competition he again failed to win. His third attempt commenced in April 1850 and five months later he heard he had won a joint first prize, along with other category winners, William set off for Rome in December and finally arrived at the Villa Medici in January 1851. He explored the city, making sketches and watercolours as he went and he walked to Naples and on to Capri, Amalfi and Pompeii
4.
Jefferson David Chalfant
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Jefferson David Chalfant was an American painter who is remembered mostly for his trompe loeil still life paintings. Chalfant was born in Chester County, Pennsylvania but moved in young adulthood to Wilmington, Delaware, employed by a commercial firm as a painter of parlor car interiors, he began his activity as a fine artist in the early 1880s. Although he had no training, he quickly developed a fine technique. His early works are still lifes and landscapes, which sold well to private collectors. Chalfant exhibited at the Pennsylvania Academy of Fine Arts, the National Academy of Design, in 1890, he was able to travel to Paris for two years, where he studied figure painting under Adolphe-William Bouguereau and Jules Joseph Lefebvre. This served him well during a career in which he painted genre, portraits and other subjects and his still lifes are painted in the illusionistic trompe loeil manner popularized in the late nineteenth century by William Michael Harnett. Harnett inspired many followers, the best known being John F. Peto, often, Chalfants compositions closely follow prototypes by Harnett, but Chalfant usually simplifies, eliminating secondary objects and details. An example is his Violin and Bow in the Metropolitan Museum of Art, although he was only slightly younger than Harnett and Peto, he outlived both of them by many years, and continued painting until 1927, when he had a stroke. He died in Wilmington in 1931, ISBN 0-06-438941-3 American paintings & historical prints from the Middendorf collection, an exhibition catalog from The Metropolitan Museum of Art, which contains material on Chalfant
5.
Workshop
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Beginning with the Industrial Revolution era, a workshop may be a room or building which provides both the area and tools that may be required for the manufacture or repair of manufactured goods. Workshops were the places of production until the advent of industrialization. In the 20th and 21st century, many Western homes contain a workshop in the garage, basement, home workshops typically contain a workbench, hand tools, power tools and other hardware. In some repair industries, such as locomotives and aircraft, the operations have specialized workshops called backshops or railway workshops. Most repairs are carried out in workshops, except where an industrial service is needed. Category, Railway workshops The New Yankee Workshop Laboratory Hackspace Studio
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Studio
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A studio is an artists or workers workroom, or the catchall term for an artist and their employees who work within that studio. The term is used for the workroom of dancers, often specified to dance studio. The word studio is derived from the Italian, studio, from Latin, studium, from studere, the French term for studio, atelier, in addition to designating an artists studio is used to characterize the studio of a fashion designer. Atelier also has the connotation of being the home of an alchemist or wizard, the studio of a successful artist, especially from the 15th to the 19th centuries, characterized all the assistants, thus the designation of paintings as from the workshop of. An art studio is called an atelier, especially in earlier eras. In contemporary, English language use, atelier can also refer to the Atelier Method, the above-mentioned method calls upon that zeal for study to play a significant role in the production which occurs in a studio space. A studio is more or less artful to the degree that the artist who occupies it is committed to the education in his or her formal discipline. A versatile and creative mind will embrace the opportunity of such practice to innovate and experiment, thus the method raises and maintains an art studio space above the level of a mere production facility or workshop. Safety is or may be a concern in studios, with some painting materials required to be handled, stored, or used properly to prevent poisoning, chemical burns, or fire. Media related to atelier at Wikimedia Commons In educational studios, students learn to develop related to design. In specific, educational studios are studio settings where large numbers of students learn to draft, educational studios are colloquially referred to as studio by students, who are known for staying up late hours into the night doing projects and socializing. The studio environment is characterized by 2 types in education, The workspace where students do usually visually-centered work in an open environment and this time and space is beyond that of instructional time and faculty guidance is not available. It allows for students to each other, help each other. A type of class that takes the above-mentioned workshop space, and it differentiates itself based on a topic of instruction, isolated space, instructor led/included, and an added focus of directed criticism. A great take on this type of studio classroom is described by Carleton University. Studio pottery is made by an individual working on his own in his studio. Production studios are those studios which act as centres for the production in any of the arts, in radio and television production studio is the place where programs and radio commercial and television advertising are recorded for further emission. Animation studios, like movie studios, may be production facilities, animation studios are a fast rising entity and they include established firms such as Walt Disney and Pixar
7.
Fine art
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Historically, the five main fine arts were painting, sculpture, architecture, music and poetry, with performing arts including theatre and dance. Today, the fine arts commonly include additional forms, such as film, photography, video production/editing, design, sequential art, conceptual art, and printmaking. However, in some institutes of learning or in museums, fine art, in that sense, there are conceptual differences between the fine arts and the applied arts. The word fine does not so much denote the quality of the artwork in question and this definition originally excluded the applied or decorative arts, and the products of what were regarded as crafts. According to some writers the concept of a category of fine art is an invention of the early modern period in the West. Larry Shiner in his The Invention of Art, A Cultural History locates the invention in the 18th century, There was a traditional “system of the arts” in the West before the eighteenth century. ”Similar ideas have been expressed by Paul Oskar Kristeller, Pierre Bourdieu, and Terry Eagleton, though the point of invention is often placed earlier, in the Italian Renaissance. The separation of arts and crafts that often exists in Europe, in Japanese aesthetics the activities of everyday life are depicted by integrating not only art with craft but man-made with nature. Traditional Chinese art distinguished within Chinese painting between the mostly landscape painting of scholar gentlemen and the artisans of the schools of court painting. A high status was given to many things that would be seen as craft objects in the West, in particular ceramics, jade carving, weaving. Drawing is a form of expression and is one of the major forms of the visual arts. Common instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoals, chalk, pastels, markers, stylus, There are a number of subcategories of drawing, including cartooning. Mosaics are images formed with pieces of stone or glass. They can be decorative or functional, an artist who designs and makes mosaics is called a mosaic artist or a mosaicist. Printmaking is the process of making artworks by printing, normally on paper, except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each print is considered an original, as opposed to a copy, the reasoning behind this is that the print is not a reproduction of another work of art in a different medium — for instance, a painting — but rather an image designed from inception as a print. An individual print is also referred to as an impression, prints are created from a single original surface, known technically as a matrix. But there are other kinds, discussed below. Multiple nearly identical prints can be called an edition, in modern times each print is often signed and numbered forming a limited edition
8.
Decorative arts
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The decorative arts are arts or crafts concerned with the design and manufacture of beautiful objects that are also functional. It includes interior design, but not usually architecture, the decorative arts are often categorized in opposition to the fine arts, namely, painting, drawing, photography, and large-scale sculpture, which generally have no function other than to be seen. The distinction between the decorative and the arts has essentially arisen from the post-Renaissance art of the West. This distinction is less meaningful when considering the art of other cultures and periods. For example, Islamic art in many periods and places consists entirely of the arts, often using geometric and plant forms. The distinction between decorative and fine arts is not very useful for appreciating Chinese art, and neither is it for understanding Early Medieval art in Europe, large-scale wall-paintings were much less regarded, crudely executed, and rarely mentioned in contemporary sources. They were probably seen as a substitute for mosaic, which for this period must be viewed as a fine art. The term ars sacra is sometimes used for medieval Christian art done in metal, ivory, textiles, illuminated manuscripts have a much higher survival rate, especially in the hands of the church, as there was little value in the materials and they were easy to store. Most European art during the Middle Ages had been produced under a different set of values. The lower status given to works of art in contrast to fine art narrowed with the rise of the Arts and Crafts Movement. This aesthetic movement of the half of the 19th century was born in England and inspired by William Morris. The movement represented the beginning of an appreciation of the decorative arts throughout Europe. Many converts, both professional artists ranks and from among the intellectual class as a whole, helped spread the ideas of the movement. The influence of the Arts and Crafts Movement led to the arts being given a greater appreciation and status in society. Until the enactment of the Copyright Act 1911 only works of art had been protected from unauthorised copying. The 1911 Act extended the definition of a work to include works of artistic craftsmanship
9.
Master craftsman
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A master craftsman or master tradesman was a member of a guild. In the European guild system, only masters and journeymen were allowed to be members of the guild, an aspiring master would have to pass through the career chain from apprentice to journeyman before he could be elected to become a master craftsman. He would then have to produce a sum of money and a masterpiece before he could join the guild. If the masterpiece was not accepted by the masters, he was not allowed to join the guild, originally, holders of the academic degree of Master of Arts were also considered, in the Medieval universities, as master craftsmen in their own academic field. The Guild of Master Craftsmen continues a tradition established by the guilds of medieval Europe, the earliest of these were frith or peace guilds - groups bonded together for mutual protection following the breakdown of the kins, which were groups related by blood ties. The world-renowned College of Arms in London awarded the coat of arms of The Guild of Master Craftsmen in 1992, the southern keep of Lewes Castle, which overlooks the Guild’s headquarters, is featured above the helmet as the crest. While guilds as such do not exist, many trades continue the apprentice-journeyman-master model, carpenters, electricians, pipefitters and plumbers are notable examples. The terms Master Mariner and harbormaster reflect the fact that the holders of positions were originally Master craftsman in the Seamens Guild. Further derived from harbormaster is stationmaster, though no longer existed when railways came into being. In Germany, the craftsman is the highest professional qualification in crafts and is a state-approved grade. The qualification includes theoretical and practical training in the craft as well as business, additionally, it implies the qualification to train apprentices. These qualifications prepare the Meister for running their own business or alternatively for higher positions at a company, the status of master craftsmen is regulated in the German Gesetz zur Ordnung des Handwerks. While privileged guilds have been abolished in Germany, the ranks of apprentice, journeyman, for security-relevant crafts, e. g. electricians and chimney sweeps, any business in the trade has to be run by a master craftsman or has to employ at least one Meister. Journeymen and master craftsmen are by law members of their regional chamber of crafts. The chamber organizes vocational training and oversees the examination of the journeymen, if these requirements are fulfilled, the candidate can take courses for the Meisterprüfung. The duration of the courses takes 4 to 6 years depending on the craft, the examination includes theoretical, practical and oral parts and takes 5 to 7 days. In some crafts, the creation of a masterpiece is also part of the examination, the German Meister qualifies the holder to study for a bachelors degree at University, whether the Meister holds a regular university entrance qualification or not. According to the German Qualifications Framework, the Meisterbrief is at the level as a bachelors degree, even though it is not an academic degree
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Visual arts
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The visual arts are art forms such as ceramics, drawing, painting, sculpture, printmaking, design, crafts, photography, video, filmmaking, literature, and architecture. Many artistic disciplines involve aspects of the arts as well as arts of other types. Also included within the arts are the applied arts such as industrial design, graphic design, fashion design, interior design. Current usage of the visual arts includes fine art as well as the applied, decorative arts and crafts. The distinction was emphasized by artists of the Arts and Crafts Movement, Art schools made a distinction between the fine arts and the crafts, maintaining that a craftsperson could not be considered a practitioner of the arts. The increasing tendency to painting, and to a lesser degree sculpture. The Western hierarchy of genres reflected similar attitudes, training in the visual arts has generally been through variations of the apprentice and workshop systems. Visual arts have now become a subject in most education systems. Drawing is a means of making an image, using any of a variety of tools. Digital tools that simulate the effects of these are also used, the main techniques used in drawing are, line drawing, hatching, crosshatching, random hatching, scribbling, stippling, and blending. An artist who excels in drawing is referred to as a draftsman or draughtsman, drawing goes back at least 16,000 years to Paleolithic cave representations of animals such as those at Lascaux in France and Altamira in Spain. In ancient Egypt, ink drawings on papyrus, often depicting people, were used as models for painting or sculpture, drawings on Greek vases, initially geometric, later developed to the human form with black-figure pottery during the 7th century BC. Painting taken literally is the practice of applying pigment suspended in a carrier, like drawing, painting has its documented origins in caves and on rock faces. The finest examples, believed by some to be 32,000 years old, are in the Chauvet, in shades of red, brown, yellow and black, the paintings on the walls and ceilings are of bison, cattle, horses and deer. Paintings of human figures can be found in the tombs of ancient Egypt, in the great temple of Ramses II, Nefertari, his queen, is depicted being led by Isis. The Greeks contributed to painting but much of their work has been lost, one of the best remaining representations are the hellenistic Fayum mummy portraits. Another example is mosaic of the Battle of Issus at Pompeii, Greek and Roman art contributed to Byzantine art in the 4th century BC, which initiated a tradition in icon painting. Apart from the manuscripts produced by monks during the Middle Ages
11.
Middle Ages
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In the history of Europe, the Middle Ages or Medieval Period lasted from the 5th to the 15th century. It began with the fall of the Western Roman Empire and merged into the Renaissance, the Middle Ages is the middle period of the three traditional divisions of Western history, classical antiquity, the medieval period, and the modern period. The medieval period is subdivided into the Early, High. Population decline, counterurbanisation, invasion, and movement of peoples, the large-scale movements of the Migration Period, including various Germanic peoples, formed new kingdoms in what remained of the Western Roman Empire. In the seventh century, North Africa and the Middle East—once part of the Byzantine Empire—came under the rule of the Umayyad Caliphate, although there were substantial changes in society and political structures, the break with classical antiquity was not complete. The still-sizeable Byzantine Empire survived in the east and remained a major power, the empires law code, the Corpus Juris Civilis or Code of Justinian, was rediscovered in Northern Italy in 1070 and became widely admired later in the Middle Ages. In the West, most kingdoms incorporated the few extant Roman institutions, monasteries were founded as campaigns to Christianise pagan Europe continued. The Franks, under the Carolingian dynasty, briefly established the Carolingian Empire during the later 8th, the Crusades, first preached in 1095, were military attempts by Western European Christians to regain control of the Holy Land from Muslims. Kings became the heads of centralised nation states, reducing crime and violence, intellectual life was marked by scholasticism, a philosophy that emphasised joining faith to reason, and by the founding of universities. Controversy, heresy, and the Western Schism within the Catholic Church paralleled the conflict, civil strife. Cultural and technological developments transformed European society, concluding the Late Middle Ages, the Middle Ages is one of the three major periods in the most enduring scheme for analysing European history, classical civilisation, or Antiquity, the Middle Ages, and the Modern Period. Medieval writers divided history into periods such as the Six Ages or the Four Empires, when referring to their own times, they spoke of them as being modern. In the 1330s, the humanist and poet Petrarch referred to pre-Christian times as antiqua, leonardo Bruni was the first historian to use tripartite periodisation in his History of the Florentine People. Bruni and later argued that Italy had recovered since Petrarchs time. The Middle Ages first appears in Latin in 1469 as media tempestas or middle season, in early usage, there were many variants, including medium aevum, or middle age, first recorded in 1604, and media saecula, or middle ages, first recorded in 1625. The alternative term medieval derives from medium aevum, tripartite periodisation became standard after the German 17th-century historian Christoph Cellarius divided history into three periods, Ancient, Medieval, and Modern. The most commonly given starting point for the Middle Ages is 476, for Europe as a whole,1500 is often considered to be the end of the Middle Ages, but there is no universally agreed upon end date. English historians often use the Battle of Bosworth Field in 1485 to mark the end of the period
12.
Guild
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A guild /ɡɪld/ is an association of artisans or merchants who control the practice of their craft in a particular town. The earliest types of guild were formed as confraternities of tradesmen and they were organized in a manner something between a professional association, trade union, a cartel, and a secret society. A lasting legacy of traditional guilds are the guildhalls constructed and used as meeting places, an important result of the guild framework was the emergence of universities at Bologna, Oxford and Paris, they originated as guilds of students as at Bologna, or of masters as at Paris. Usually the founders were free independent master craftsmen who hired apprentices, there were several types of guilds, including the two main categories of merchant guilds and craft guilds but also the frith guild and religious guild. In many cases became the governing body of a town. The Freedom of the City, effective from the Middle Ages until 1835, gave the right to trade, Trade guilds arose in the 14th century as craftsmen united to protect their common interest. The occasion for these oaths were drunken banquets held on December 26, gregory of Tours tells a miraculous tale of a builder whose art and techniques suddenly left him, but were restored by an apparition of the Virgin Mary in a dream. Michel Rouche remarks that the story speaks for the importance of practically transmitted journeymanship, in France, guilds were called corps de métiers. According to Viktor Ivanovich Rutenburg, Within the guild itself there was little division of labour. Thus, according to Étienne Boileaus Book of Handicrafts, by the century there were no less than 100 guilds in Paris. In Catalan towns, specially at Barcelona, guilds or gremis were a basic agent in the society, a shoemakers guild is recorded in 1208. In England, specifically in the City of London Corporation, more than 110 guilds, referred to as companies, survive today. Other groups, such as the Worshipful Company of Tax Advisers, have been formed far more recently, membership in a livery company is expected for individuals participating in the governance of The City, as the Lord Mayor and the Remembrancer. The guild system reached a state in Germany circa 1300 and held on in German cities into the 19th century. In the 15th century, Hamburg had 100 guilds, Cologne 80, the latest guilds to develop in Western Europe were the gremios of Spain, e. g. Valencia or Toledo. Not all city economies were controlled by guilds, some cities were free, in order to become a Master, a Journeyman would have to go on a three-year voyage called Journeyman years. The practice of the Journeyman years still exists in Germany and France, in Ghent, as in Florence, the woolen textile industry developed as a congeries of specialized guilds. The appearance of the European guilds was tied to the emergent money economy, before this time it was not possible to run a money-driven organization, as commodity money was the normal way of doing business
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Guild of Saint Luke
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The Guild of Saint Luke was the most common name for a city guild for painters and other artists in early modern Europe, especially in the Low Countries. They were named in honor of the Evangelist Luke, the saint of artists. One of the most famous such organizations was founded in Antwerp and it continued to function until 1795, although by then it had lost its monopoly and therefore most of its power. In most cities, including Antwerp, the government had given the Guild the power to regulate defined types of trade within the city. Guild membership, as a master, was required for an artist to take on apprentices or to sell paintings to the public. Similar rules existed in Delft, where members could sell paintings in the city or have a shop. The guild of Saint Luke not only represented painters, sculptors, and other artists, but also—especially in the seventeenth century—dealers, amateurs. In traditional guild structures, house-painters and decorators were often in the same guild, however, as artists formed under their own specific guild of St. Luke, particularly in the Netherlands, distinctions were increasingly made. In general, guilds also made judgments on disputes between artists and other artists or their clients, in such ways, it controlled the economic career of an artist working in a specific city, while in different cities they were wholly independent and often competitive against each other. Although it did not become an artistic center until the sixteenth century, Antwerp was one of, if not the first. It is first mentioned in 1382, and was given privileges by the city in 1442. The registers, or Liggeren, from the guild exist, cataloging when artists became masters, who the dean for each year was, what their specialities were, and the names of any students. Perhaps because of this link, for a period they had a rule that all miniatures needed a tiny mark to identify the artist, only under special privileges, such as court artist, could an artist effectively practice their craft without holding membership in the guild. Membership also allowed members to sell works at the guild-owned showroom, Antwerp, for example, opened a market stall for selling paintings in front of the cathedral in 1460, and Bruges followed in 1482. Guilds of St. Luke in the Dutch Republic began to reinvent themselves as cities there changed over to Protestant rule, many St. Luke guilds reissued charters to protect the interests of local painters from the influx of southern talent from places like Antwerp and Bruges. Many cities in the republic became more important artistic centres in the late sixteenth. Amsterdam was the first city to reissue a St. Lukes charter after the reformation in 1579, and it included painters, sculptors, engravers, for example, Gouda, Rotterdam, and Delft, all founded guilds between 1609 and 1611. On the other hand, these distinctions did not take effect at that time in Amsterdam or Haarlem, in the Haarlem Guild of St. Luke, however, a strict hierarchy was attempted in 1631 with panel painters at the top, though this hierarchy was eventually rejected
14.
Apprenticeship
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An apprenticeship is a system of training a new generation of practitioners of a trade or profession with on-the-job training and often some accompanying study. Apprenticeship also enables practitioners to gain a license to practice in a regulated profession, Apprenticeships typically last 3 to 7 years. People who successfully complete an apprenticeship reach the journeyman or professional level of competence. In early modern usage, the clipped form prentice was common, the system of apprenticeship first developed in the later Middle Ages and came to be supervised by craft guilds and town governments. A master craftsman was entitled to employ young people as a form of labour in exchange for providing food, lodging. Most apprentices were males, but female apprentices were found in such as seamstress, tailor. Apprentices usually began at ten to fifteen years of age, in Coventry those completing seven-year apprenticeships with stuff merchants were entitled to become freemen of the city. Subsequently, governmental regulation and the licensing of technical colleges and vocational education formalized and bureaucratized the details of apprenticeship, Australian Apprenticeships encompass all apprenticeships and traineeships. They cover all sectors in Australia and are used to achieve both entry-level and career upskilling objectives. There were 470,000 Australian Apprentices in-training as at 31 March 2012, Australian Government employer and employee incentives may be applicable, while State and Territory Governments may provide public funding support for the training element of the initiative. Australian Apprenticeships combine time at work with formal training and can be full-time, part-time or school-based, Australian Apprentice and Traineeship services are dedicated to promoting retention, therefore much effort is made to match applicants with the right apprenticeship or traineeship. This is done with the aid of aptitude tests, tips, information and resources on potential apprenticeship and traineeship occupations are available in over sixty industries. The distinction between the terms apprentices and trainees lies mainly around traditional trades and the time it takes to gain a qualification, Australia also has a fairly unusual safety net in place for businesses and Australian Apprentices with its Group Training scheme. It is a safety net, because the Group Training Organisation is the employer and provides continuity of employment and it lasts two to four years – the duration varies among the 250 legally recognized apprenticeship trades. About 40 percent of all Austrian teenagers enter apprenticeship training upon completion of compulsory education and this number has been stable since the 1950s. The five most popular trades are, Retail Salesperson, Clerk, Car Mechanic, Hairdresser, there are many smaller trades with small numbers of apprentices, like EDV-Systemtechniker which is completed by fewer than 100 people a year. The Apprenticeship Leave Certificate provides the apprentice with access to two different vocational careers, the person responsible for overseeing the training inside the company is called Lehrherr or Ausbilder. An Ausbilder must prove he has the qualifications needed to educate another person
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Journeyman
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A journeyman is a skilled worker who has successfully completed an official apprenticeship qualification in a building trade or craft. They are considered competent and authorized to work in that field as a qualified employee. A journeyman earns their license through education, supervised experience, although a journeyman has completed a trade certificate and is able to work as an employee, they are not yet able to work as a self-employed master craftsman. The term journeyman was originally used in the trade guilds. Journeymen were paid each day, and this is where the word ‘journey’ derived from- journée meaning ‘a day’ in French, each individual guild generally recognized three ranks of workers, apprentices, journeymen, and masters. A journeyman, as a qualified tradesman could become a master, guidelines were put in place to promote responsible tradesmen who were held accountable for their own work, and to protect the individual trade and the general public from unskilled workers. To become a master, a journeyman has to submit a master piece of work to a guild for an evaluation, only after evaluation can a journeyman be admitted to the guild as a master. Sometimes, a journeyman is required to accomplish a three-year working trip, the word journeyman comes from the French word journée, which means a days work or a days travel, journée in turn comes from Vulgar Latin, diurnum meaning day. The title refers to the right to charge a fee for each days work. A journeyman has completed an apprenticeship but is employed by such as a master craftsman. A journeyman could not employ others, carpenters in Germany have retained the tradition of traveling journeymen even today, although only a few still practice it. In France, wandering journeymen were known as compagnons, in modern apprenticeship systems, a journeyman is a person who has a trades certificate that shows the required completion of an apprenticeship. In many countries this is the highest formal rank and allows them to all the tasks of the trade within the area where they are certified, to supervise apprentices. The modern apprenticeship system aims to build skills through on the job training, an apprentice is able to earn a living while learning these new skills. The working environment is linked to the employer giving the individual company the opportunity to shape the apprentice, within the guidelines. Quite often a working relationship is built between employee and employer. A person who has completed the traditional live-in apprenticeship could be considered a journeyman, the journeyman license certifies that the craftsman has met the requirements of time in the field and time in an approved classroom setting. A journeyman has the responsibility of supervising workers of lesser experience and training as them, a journeyman is commonly expected to have a wide range of experience, covering most fields of his trade
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Academy
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Academy is a type of secondary or tertiary education institutions. The word comes from the Academy in ancient Greece, which derives from the Athenian hero, outside the city walls of Athens, the gymnasium was made famous by Plato as a center of learning. The sacred space, dedicated to the goddess of wisdom, Athena, had formerly been an olive grove, in these gardens, the philosopher Plato conversed with followers. Plato developed his sessions into a method of teaching philosophy and in 387 BC, by extension academia has come to mean the cultural accumulation of knowledge, its development and transmission across generations and its practitioners and transmitters. In the 17th century, British, Italian and French scholars used the term to describe types of institutions of higher learning, in ancient Greece, after the establishment of the original Academy, Platos colleagues and pupils developed spin-offs of his method. Arcesilaus, a Greek student of Plato established the Middle Academy, carneades, another student, established the New Academy. In 335 BC, Aristotle refined the method with his own theories, the library of Alexandria in Egypt was frequented by intellectuals from Africa, Europe and Asia studying various aspects of philosophy, language and mathematics. The University of Timbuktu was a university in Timbuktu, present-day Mali. During its zenith, the university had an attendance of around 25,000 students within a city of around 100,000 people. In China a higher education institution Shang Xiang was founded by Shun in the Youyu era before the 21st century BC, in the 8th century another kind of institution of learning emerged, named Shuyuan, which were generally privately owned. There were thousands of Shuyuan recorded in ancient times, the degrees from them varied from one to another and those advanced Shuyuan such as Bailudong Shuyuan and Yuelu Shuyuan can be classified as higher institutions of learning. Taxila or Takshashila, in ancient India, modern-day Pakistan, was an early Buddhist centre of learning and it is considered as one of the ancient universities of the world. According to scattered references which were only fixed a millennium later it may have dated back to at least the 5th century BC, some scholars date Takshashilas existence back to the 6th century BC. The school consisted of several monasteries without large dormitories or lecture halls where the instruction was most likely still provided on an individualistic basis. Takshashila is described in detail in later Jātaka tales, written in Sri Lanka around the 5th century AD. It became a centre of learning at least several centuries BC. Takshashila is perhaps best known because of its association with Chanakya, the famous treatise Arthashastra by Chanakya, is said to have been composed in Takshashila itself. Chanakya, the Maurya Emperor Chandragupta and the Ayurvedic healer Charaka studied at Taxila, generally, a student entered Takshashila at the age of sixteen
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Artist
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An artist is a person engaged in one or more of any of a broad spectrum of activities related to creating art, practicing the arts or demonstrating an art. The common usage in everyday speech and academic discourse is a practitioner in the visual arts only. The term is used in the entertainment business, especially in a business context, for musicians. Artiste is a variant used in English only in this context, use of the term to describe writers, for example, is valid, but less common, and mostly restricted to contexts like criticism. Wiktionary defines the noun artist as follows, A person who creates art, a person who makes and creates art as an occupation. A person who is skilled at some activity, a person whose trade or profession requires a knowledge of design, drawing, painting, etc. The adjectival Latin form of the word, technicus, became the source of the English words technique, technology, in ancient Greece sculptors and painters were held in low regard, somewhere between freemen and slaves, their work regarded as mere manual labour. The word art derives from the Latin ars, which, although literally defined, means skill method or technique, and conveys a connotation of beauty. During the Middle Ages the word artist already existed in countries such as Italy. An artist was able to do a work better than others, so the skilled excellency was underlined. In this period some artisanal products were more precious and expensive than paintings or sculptures. With the Academies in Europe the gap between fine and applied arts was definitely set, Artist is a descriptive term applied to a person who engages in an activity deemed to be an art. An artist also may be defined unofficially as a person who expresses him- or herself through a medium, the word is also used in a qualitative sense of, a person creative in, innovative in, or adept at, an artistic practice. Art historians and critics define artists as those who produce art within a recognized or recognizable discipline, contrasting terms for highly skilled workers in media in the applied arts or decorative arts include artisan, craftsman, and specialized terms such as potter, goldsmith or glassblower. The term may also be used loosely or metaphorically to denote highly skilled people in any activities, as well— law, medicine, mechanics, or mathematics. Often, discussions on the focus on the differences among artist and technician, entertainer and artisan, fine art and applied art, or what constitutes art. The French word artiste has been imported into the English language where it means a performer, use of the word artiste can also be a pejorative term. The English word artiste has thus a range of meaning than the word artiste in French
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Painting
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Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
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Haute couture
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Haute couture is the creation of exclusive custom-fitted clothing. A haute couture garment is made for a client, tailored specifically for the wearers measurements. Considering the amount of time, money, and skill allotted to each completed piece, haute couture garments are described as having no price tag. The term originally referred to Englishman Charles Frederick Worths work, produced in Paris in the mid-nineteenth century, in modern France, haute couture is a protected name that may not be used except by firms that meet certain well-defined standards. However, the term is used loosely to describe all high-fashion custom-fitted clothing whether it is produced in Paris or in other fashion capitals such as London, Milan. In either case, the term can refer to the houses or fashion designers that create exclusive. In France, the haute couture is protected by law and is defined by the Chambre de commerce et dindustrie de Paris based in Paris. The chambre syndicale de la haute couture is defined as the commission that determines which fashion houses are eligible to be true haute couture houses. Formation of the organization was brought about by Charles Frederick Worth, an affiliated school was organized in 1930 called LEcole de la Chambre Syndicale de la Couture. The school helps bring new designers to help the couture houses that are present today. Since 1975, this organization has worked within the Federation Francaise, de couture, more rigorous criteria for haute couture were established in 1945. g. With that of prêt-à-porter in the public perception, almost every haute couture house also markets prêt-à-porter collections, which typically deliver a higher return on investment than their custom clothing. Falling revenues have forced a few houses to abandon their less profitable haute couture division. These houses are no longer considered haute couture houses by the original, legal usage of the term. Many top designer fashion houses such as Chanel use the word for some of their special collections, as well, the term haute couture has taken on further popular meanings referring to non-dressmaking activities, such as production of fine art, music, etc. Haute couture can be referenced back as early as the 17th Century, rose Bertin, the French fashion designer to Queen Marie Antoinette, can be credited for bringing fashion and haute couture to French culture. Visitors to Paris brought back clothing that was copied by local dressmakers. Stylish women also ordered fashion d dressed in the latest Parisian fashion to serve as models, as railroads and steamships made European travel easier, it was increasingly common for wealthy women to travel to Paris to shop for clothing and accessories
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Hairdresser
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A hairdresser is a person whose occupation is to cut or style hair in order to change or maintain a persons image. This is achieved using a combination of hair coloring, haircutting, most hairdressers are professionally licensed as either a hairdresser, a barber or a cosmetologist. Hairdressing as an occupation dates back thousands of years, ancient art drawings and paintings have been discovered depicting people working on another persons hair. Greek writers Aristophanes and Homer both mention hairdressing in their writings, in Africa, it was believed in some cultures that a persons spirit occupied his or her hair, giving hairdressers high status within these communities. The status of hairdressing encouraged many to develop their skills, hours would be spent washing, combing, oiling, styling and ornamenting their hair. Men would work specifically on men, and women on other women, before a master hairdresser died, they would give their combs and tools to a chosen successor during a special ceremony. In ancient Egypt, hairdressers had specially decorated cases to hold their tools, including lotions, scissors, barbers also worked as hairdressers, and wealthy men often had personal barbers within their home. With the standard of wig wearing within the culture, wigmakers were also trained as hairdressers, in ancient Rome and Greece household slaves and servants took on the role of hairdressers, including dyeing and shaving. Men who did not have their own hair or shaving services would visit the local barbershop. Women had their hair maintained and groomed at their homes, historical documentation is lacking regarding hairstylists from the 5th century until the 14th century. Hair care service grew in demand after a decree in 1092 demanded that all Roman Catholic clergymen remove their facial hair. The first appearance of the hairdresser is in 17th century Europe. A wealthy mans hair would often be maintained by a valet and it was in France where men began styling womens hair for the first time, and many of the notable hairdressers of the time were men, a trend that would continue into contemporary times. The first famous male hairdresser was Champagne, who was born in Southern France, upon moving to Paris, he opened his own hair salon and dressed the hair of wealthy Parisian women until his death in 1658. Womens hair grew taller in style during the 17th century, popularized by the hairdresser Madame Martin, the hairstyle, the tower, was the trend with wealthy English and American women, who relied on hairdressers to style their hair as tall as possible. Tall piles of curls were pomaded, powdered and decorated with ribbons, flowers, lace, feathers, the profession of hairdressing was launched as a genuine profession when Legros de Rumigny was declared the first official hairdresser of the French court. In 1765 de Rumigny published his book Art de la Coiffure des Dames, the book was a best seller amongst Frenchwomen, and four years later de Rumigny opened a school for hairdressers, Academie de Coiffure. At the school he taught men and women to cut hair, by 1777, approximately 1,200 hairdressers were working in Paris
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North America
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North America is a continent entirely within the Northern Hemisphere and almost all within the Western Hemisphere. It can also be considered a subcontinent of the Americas. It is bordered to the north by the Arctic Ocean, to the east by the Atlantic Ocean, to the west and south by the Pacific Ocean, and to the southeast by South America and the Caribbean Sea. North America covers an area of about 24,709,000 square kilometers, about 16. 5% of the land area. North America is the third largest continent by area, following Asia and Africa, and the fourth by population after Asia, Africa, and Europe. In 2013, its population was estimated at nearly 565 million people in 23 independent states, or about 7. 5% of the worlds population, North America was reached by its first human populations during the last glacial period, via crossing the Bering land bridge. The so-called Paleo-Indian period is taken to have lasted until about 10,000 years ago, the Classic stage spans roughly the 6th to 13th centuries. The Pre-Columbian era ended with the migrations and the arrival of European settlers during the Age of Discovery. Present-day cultural and ethnic patterns reflect different kind of interactions between European colonists, indigenous peoples, African slaves and their descendants, European influences are strongest in the northern parts of the continent while indigenous and African influences are relatively stronger in the south. Because of the history of colonialism, most North Americans speak English, Spanish or French, the Americas are usually accepted as having been named after the Italian explorer Amerigo Vespucci by the German cartographers Martin Waldseemüller and Matthias Ringmann. Vespucci, who explored South America between 1497 and 1502, was the first European to suggest that the Americas were not the East Indies, but a different landmass previously unknown by Europeans. In 1507, Waldseemüller produced a map, in which he placed the word America on the continent of South America. He explained the rationale for the name in the accompanying book Cosmographiae Introductio, for Waldseemüller, no one should object to the naming of the land after its discoverer. He used the Latinized version of Vespuccis name, but in its feminine form America, following the examples of Europa, Asia and Africa. Later, other mapmakers extended the name America to the continent, In 1538. Some argue that the convention is to use the surname for naming discoveries except in the case of royalty, a minutely explored belief that has been advanced is that America was named for a Spanish sailor bearing the ancient Visigothic name of Amairick. Another is that the name is rooted in a Native American language, the term North America maintains various definitions in accordance with location and context. In Canadian English, North America may be used to refer to the United States, alternatively, usage sometimes includes Greenland and Mexico, as well as offshore islands
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Western Europe
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Western Europe, or West Europe, is the region comprising the western part of Europe. Below, some different geographic and geopolitical definitions of the term are outlined, prior to the Roman conquest, a large part of Western Europe had adopted the newly developed La Tène culture. This cultural and linguistic division was reinforced by the later political east-west division of the Roman Empire. The division between these two was enhanced during Late Antiquity and the Middle Ages by a number of events, the Western Roman Empire collapsed, starting the Early Middle Ages. By contrast, the Eastern Roman Empire, mostly known as the Greek or Byzantine Empire, survived, in East Asia, Western Europe was historically known as taixi in China and taisei in Japan, which literally translates as the Far West. The term Far West became synonymous with Western Europe in China during the Ming dynasty, the Italian Jesuit priest Matteo Ricci was one of the first writers in China to use the Far West as an Asian counterpart to the European concept of the Far East. In his writings, Ricci referred to himself as Matteo of the Far West, the term was still in use in the late 19th and early 20th centuries. Post-war Europe would be divided into two spheres, the West, influenced by the United States, and the Eastern Bloc. With the onset of the Cold War, Europe was divided by the Iron Curtain, behind that line lie all the capitals of the ancient states of Central and Eastern Europe. Although some countries were neutral, they were classified according to the nature of their political. This division largely defined the popular perception and understanding of Western Europe, the world changed dramatically with the fall of the Iron Curtain in 1989. The Federal Republic of Germany peacefully absorbed the German Democratic Republic, COMECON and the Warsaw Pact were dissolved, and in 1991, the Soviet Union ceased to exist. Several countries which had part of the Soviet Union regained full independence. Although the term Western Europe was more prominent during the Cold War, it remains much in use, in 1948 the Treaty of Brussels was signed between Belgium, France, Luxembourg, the Netherlands and the United Kingdom. It was further revisited in 1954 at the Paris Conference, when the Western European Union was established and it was declared defunct in 2011, after the Treaty of Lisbon, and the Treaty of Brussels was terminated. When the Western European Union was dissolved, it had 10 member countries, six member countries, five observer countries. The CIA divides Western Europe into two smaller subregions, regional voting blocs were formed in 1961 to encourage voting to various UN bodies from different regional groups. The European Union is an economic and political union of 28 member states that are located primarily in Europe, some Western and Northern European countries of Iceland, Norway, Switzerland and Liechtenstein are members of EFTA, though cooperating to varying degree with the European Union
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Apollo Belvedere
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The Apollo Belvedere or Apollo of the Belvedere—also called the Pythian Apollo—is a celebrated marble sculpture from Classical Antiquity. It was rediscovered in central Italy in the late 15th century and it is now found in the Cortile delle Statue of the Pio-Clementine Museum of the Vatican Museums complex. The Greek god Apollo is depicted as a standing archer having just shot an arrow, alternatively, it may be the slaying of the giant Tityos, who threatened his mother Leto, or the episode of the Niobids. The large white marble sculpture is 2.24 m high and its complex contrapposto has been much admired, appearing to position the figure both frontally and in profile. The arrow has just left Apollos bow and the effort impressed on his musculature still lingers. His hair, lightly curled, flows in ringlets down his neck and rises gracefully to the summit of his head, which is encircled with the strophium and his quiver is suspended across his left shoulder. He is entirely nude except for his sandals and a robe clasped at his shoulder, turned up on his left arm. The lower part of the arm and the left hand were missing when discovered and were restored by Giovanni Angelo Montorsoli. The Apollo is thought to be a Roman copy of Hadrianic date of a lost bronze original made between 350 and 325 BC by the Greek sculptor Leochares. It was, however, sketched twice during the last decade of the 15th century in the book of drawings by a pupil of Domenico Ghirlandaio, apostoli, Deborah Brown has shown, and not at his titular church, as had been assumed. Once it was installed in the Cortile, however, it became renowned. Albrecht Dürer reversed the Apollos pose for his Adam in a 1504 engraving of Adam and Eve, suggesting that he saw it in Rome. It became the Apollo of the Cortile del Belvedere, and the name has remained with it, though the sculpture has long been indoors, in the Museo Pio-Clementino at the Vatican Museums, Rome. In addition to Dürer, several artists during the late Renaissance sketched the Apollo, including Michelangelo, Bandinelli. In the 1530s it was engraved by Marcantonio Raimondi, whose printed image transmitted the famous pose throughout Europe and its noble simplicity and quiet grandeur, as he described it, became one of the leading lights of neo-classicism and an icon of the Enlightenment. Goethe, Schiller and Byron all endorsed it, the Apollo was one of the artworks brought to Paris by Napoleon after his 1796 Italian Campaign. From 1798 it formed part of the collection of the Louvre during the First Empire, the neoclassical sculptor Antonio Canova adapted the works fluency to his marble Perseus in 1801. After the fall of Napoleon, the Apollo was repatriated to the Vatican where it has remained ever since, the Romantic movement was not so kind to the Apollos critical reputation
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Vatican Museums
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The Vatican Museums are the museums of the Vatican City and are located within the citys boundaries. The museums contain roughly 70,000 works, of which 20,000 are on display, and currently employ 640 people who work in 40 different administrative, scholarly, Pope Julius II founded the museums in the early 16th century. The Sistine Chapel, with its ceiling decorated by Michelangelo and the Stanze di Raffaello decorated by Raphael, are on the route through the Vatican Museums. In 2013, they were visited by 6 million people, which combined makes it the 6th most visited art museum in the world, there are 54 galleries, or sale, in total, with the Sistine Chapel, notably, being the very last sala within the Museum. It is one of the largest museums in the world, in 2017, the Museums official website and social media presence was completely redone, in accord with current standards and appearances for modern websites. Pope Julius II sent Giuliano da Sangallo and Michelangelo Buonarroti, who were working at the Vatican, on their recommendation, the pope immediately purchased the sculpture from the vineyard owner. The pope put the sculpture of Laocoön and his sons on public display at the Vatican exactly one month after its discovery, the Museum Christianum was founded by Benedict XIV, and some of the Vatican collections formed the Lateran Museum, which Pius IX founded by decree in 1854. The Museums celebrated their 500th anniversary in October 2006 by permanently opening the excavations of a Vatican Hill necropolis to the public, on 1 January 2017 Barbara Jatta became the Director of the Vatican Museums, replacing Antonio Paolucci who had been director since 2007. The art gallery was housed in the Borgia Apartment until Pope Pius XI ordered construction of a proper building, the new building, designed by Luca Beltrami, was inaugurated on 27 October 1932. The museum has paintings including, Giottos Stefaneschi Triptych Olivuccio di Ciccarello, Opere di Misericordia Raphaels Madonna of Foligno, Oddi Altarpiece, the group of museums includes several sculpture museums surrounding the Cortile del Belvedere. The museum takes its name from two popes, Clement XIV and Pius VI, the pope who brought the museum to completion, Clement XIV came up with the idea of creating a new museum in Innocent VIIIs Belvedere palace and started the refurbishment work. Pope Clement XIV founded the Pio-Clementino museum in 1771, and originally it contained the Renaissance, the museum and collection were enlarged by Clements successor Pius VI. Today, the museum works of Greek and Roman sculpture. Some notable galleries are, Greek Cross Gallery, with the porphyri sarcophagi of Constance and Saint Helen, daughter and mother of Constantine the Great. Sala Rotonda, shaped like a miniature Pantheon, the room has impressive ancient mosaics on the floors, Gallery of the Statues, as its name implies, holds various important statues, including Sleeping Ariadne and the bust of Menander. It also contains the Barberini Candelabra, Gallery of the Busts, Many ancient busts are displayed. Cabinet of the Masks, The name comes from the mosaic on the floor of the gallery, found in Villa Adriana, along the walls, several famous statues are shown including the Three Graces. One wove the thread of life, second nurtured it, third cut it. The center piece is Belvedere Torso, revered by Michelangelo and other Renaissance men, sala degli Animali, So named because of the many ancient statues of animals
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Titian
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Tiziano Vecelli or Tiziano Vecellio, known in English as Titian /ˈtɪʃən/, was an Italian painter, the most important member of the 16th-century Venetian school. He was born in Pieve di Cadore, near Belluno, during his lifetime he was often called da Cadore, taken from the place of his birth. His painting methods, particularly in the application and use of color, would exercise a profound influence not only on painters of the Italian Renaissance, during the course of his long life, Titians artistic manner changed drastically, but he retained a lifelong interest in color. Although his mature works may not contain the vivid, luminous tints of his pieces, their loose brushwork. The exact date of Titians birth is uncertain, when he was an old man he claimed in a letter to Philip II, King of Spain, to have been born in 1474, but this seems most unlikely. Other writers contemporary to his old age give figures that would equate to birthdates between 1473 and after 1482 and he was the son of Gregorio Vecelli and his wife Lucia. His father was superintendent of the castle of Pieve di Cadore, Gregorio was also a distinguished councilor and soldier. Many relatives, including Titians grandfather, were notaries, and the family of four were well-established in the area, at the age of about ten to twelve he and his brother Francesco were sent to an uncle in Venice to find an apprenticeship with a painter. At that time the Bellinis, especially Giovanni, were the artists in the city. There Titian found a group of men about his own age, among them Giovanni Palma da Serinalta, Lorenzo Lotto, Sebastiano Luciani. Francesco Vecellio, his brother, later became a painter of some note in Venice. A fresco of Hercules on the Morosini Palace is said to have one of Titians earliest works. Others were the Bellini-esque so-called Gypsy Madonna in Vienna, and the Visitation of Mary and Elizabeth, now in the Accademia, a Man with a Quilted Sleeve is an early portrait, painted around 1509 and described by Giorgio Vasari in 1568. Scholars long believed it depicted Ludovico Ariosto, but now think it is of Gerolamo Barbarigo, Rembrandt borrowed the composition for his self-portraits. Titian joined Giorgione as an assistant, but many contemporary critics found his work more impressive—for example in exterior frescoes that they did for the Fondaco dei Tedeschi. Their relationship evidently contained a significant element of rivalry, distinguishing between their work at this period remains a subject of scholarly controversy. A substantial number of attributions have moved from Giorgione to Titian in the 20th century, one of the earliest known Titian works, Christ Carrying the Cross in the Scuola Grande di San Rocco, depicting the Ecce Homo scene, was long regarded as by Giorgione. In 1507–1508 Giorgione was commissioned by the state to create frescoes on the re-erected Fondaco dei Tedeschi, Titian and Morto da Feltre worked along with him, and some fragments of paintings remain, probably by Giorgione
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Assumption of the Virgin (Titian)
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Assumption of the Virgin is a large oil painting by Italian Renaissance artist Titian, executed in 1515–18. It is located on the altar in the Basilica di Santa Maria Gloriosa dei Frari in Venice. The Assumption of the Virgin was Titians first major commission in Venice and he soon became the lead painter of Venice. Breaking tradition with its heroic character scale and trademark color, its twisted Virgin and this panel was important in establishing Titians popularity in Venice. When Titian placed this giant painting in its majestic marble frame and it was deemed worth noting by the Venetian diarist, Marino Sanuto the Younger, who wrote, May 20,1518, Yesterday the panel painted by Titian for. In 1818, it was moved to the Accademia, returning to its place at the Frari in 1919. Viewing the painting while housed in the Accademia, the young Oscar Wilde remarked that The Assumption was certainly the best picture in Italy, Titian may have trained as a mosaic artist, and it has been suggested the golden background is a homage to the tradition of Venetian mosaics. Titian primarily used oil-ground paint, which was prepared by his assistants, no one has the exact recipe, but the basic ingredients included linseed oil and gum turpentine. The heroic figures and size were a new idea when the Assumption was placed in the Basilica and this picture shows different events in three layers. In the lowest layer are the Apostles and they are shown in a variety of poses, ranging from gazing in awe, to kneeling and reaching for the skies. In the center, the Virgin Mary is drawn wrapped in a red robe and she is raised to the heavens by a swarm of cherubim while standing on a cloud. Above is an attempt to draw God, who watches over the earth with hair flying in the wind, next to him, flies an angel with a crown for Mary. Marian art in the Catholic Church Durant, Will, the Renaissance, A History of Civilization in Italy from the Birth of Petrarch to the Death of Titian -1204 to 1576 Jaffé, David
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Spirit level
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A spirit level, bubble level or simply a level is an instrument designed to indicate whether a surface is horizontal or vertical. Early spirit levels had very slightly curved glass vials with constant inner diameter at each viewing point and these vials are incompletely filled with a liquid, usually a colored spirit or alcohol, leaving a bubble in the tube. They have an upward curve, so that the bubble naturally rests in the center. At slight inclinations the bubble travels away from the center position. Where a spirit level must also be usable upside-down or on its side, alcohols such as ethanol are often used rather than water. Alcohols have low viscosity and surface tension, which allows the bubble to travel the tube quickly, alcohols also have a much wider liquid temperature range, and wont break the vial as water could due to ice expansion. A colorant such as fluorescein, typically yellow or green, may be added to increase the visibility of the bubble. An extension of the level is the bulls eye level. It serves to level a surface across a plane, while the level only does so in the direction of the tube. To check the accuracy of a carpenters type level, a horizontal surface is not needed. The level is placed on a flat and roughly level surface and this reading indicates to what extent the surface is parallel to the horizontal plane, according to the level, which at this stage is of unknown accuracy. The spirit level is then rotated through 180 degrees in the horizontal plane, if the level is accurate, it will indicate the same orientation with respect to the horizontal plane. A difference implies that the level is inaccurate, a similar procedure is applied to more sophisticated instruments such as a surveyors level or a theodolite and is a matter of course each time the instrument is set up. In this latter case, the plane of rotation of the instrument is levelled and this is done in two horizontal perpendicular directions. The sensitivity is an important specification for a level, its accuracy depends on its sensitivity. The sensitivity of a level is given as the change of angle or gradient required to move the bubble by unit distance, if the bubble housing has graduated divisions then the sensitivity is the angle or gradient change that moves the bubble by one of these divisions. 2 mm is the spacing for graduations, on a surveyors level the bubble will move 2 mm when the vial is tilted about 0.005 degree. For a precision machinist level with 2mm divisions, when the vial is tilted 5 arc seconds the bubble will move one graduation and this is equivalent to movement of.0005 inches measured one foot from the pivot point, referred to as 5 ten-thousandths per foot
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Mirror
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This is different from other light-reflecting objects that do not preserve much of the original wave signal other than color and diffuse reflected light. The most familiar type of mirror is the mirror, which has a flat screen surface. Curved mirrors are used, to produce magnified or diminished images or focus light or simply distort the reflected image. Mirrors are commonly used for personal grooming or admiring oneself, decoration, Mirrors are also used in scientific apparatus such as telescopes and lasers, cameras, and industrial machinery. Most mirrors are designed for light, however, mirrors designed for other wavelengths of electromagnetic radiation are also used. The first mirrors used by people were most likely pools of dark, still water, the requirements for making a good mirror are a surface with a very high degree of flatness, and a surface roughness smaller than the wavelength of the light. The earliest manufactured mirrors were pieces of polished stone such as obsidian, examples of obsidian mirrors found in Anatolia have been dated to around 6000 BC. Mirrors of polished copper were crafted in Mesopotamia from 4000 BC, polished stone mirrors from Central and South America date from around 2000 BC onwards. In China, bronze mirrors were manufactured from around 2000 BC, some of the earliest bronze, Mirrors made of other metal mixtures such as copper and tin speculum metal may have also been produced in China and India. Mirrors of speculum metal or any precious metal were hard to produce and were owned by the wealthy. Stone mirrors often had poor reflectivity compared to metals, yet metals scratch or tarnish easily, depending upon the color, both often yielded reflections with poor color rendering. The poor image quality of ancient mirrors explains 1 Corinthians 13s reference to seeing as in a mirror, glass was a desirable material for mirrors. Because the surface of glass is smooth, it produces reflections with very little blur. In addition, glass is very hard and scratch resistant, however, glass by itself has little reflectivity, so people began coating it with metals to increase the reflectivity. According to Pliny, the people of Sidon developed a technique for creating crude mirrors by coating glass with molten lead. Glass mirrors backed with gold leaf are mentioned by Pliny in his Natural History and these circular mirrors were typically small, from only a fraction of an inch to as much as eight inches in diameter. These small mirrors produced distorted images, yet were prized objects of high value and these ancient glass mirrors were very thin, thus very fragile, because the glass needed to be extremely thin to prevent cracking when coated with a hot, molten metal. Due to the quality, high cost, and small size of these ancient glass mirrors
29.
Plumb bob
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A plumb bob, or plummet, is a weight, usually with a pointed tip on the bottom, suspended from a string and used as a vertical reference line, or plumb-line. It is essentially the equivalent of a water level. The instrument has been used since at least the time of ancient Egypt to ensure that constructions are plumb and it is also used in surveying, to establish the nadir with respect to gravity of a point in space. It is used with a variety of instruments to set the instrument exactly over a survey marker or to transcribe positions onto the ground for placing a marker. The plumb in plumb-bob comes from the fact that tools were originally made of lead. The adjective plumb developed by extension, as did the noun aplomb, until the modern age, plumb-bobs were used on most tall structures to provide vertical datum lines for the building measurements. A section of the scaffolding would hold a line, which was centered over a datum mark on the floor. As the building proceeded upward, the line would also be taken higher. Many cathedral spires, domes and towers still have brass datum marks inlaid into their floors, which signify the center of the structure above. Although a plumb-bob and line alone can determine only a vertical if they are mounted on a suitable scale, the early skyscrapers used heavy plumb-bobs, hung on wire in their elevator shafts. A plumb bob may be in a container of water, molasses, very viscous oils or other liquids to dampen any swinging movement, functioning as a shock absorber. Students of figure drawing will also use of a plumb line to find the vertical axis through the center of gravity of their subject. The device used may be purpose-made plumb lines, or simply makeshift devices made from a piece of string and this plumb line is important for lining up anatomical geometries and visualizing the subjects center of balance. Bob Centre of mass – used to find the centre of mass on a 2D shape which has uniform density Chalk line Vertical direction 60 oz. Plumb Bob
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Dimension
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In physics and mathematics, the dimension of a mathematical space is informally defined as the minimum number of coordinates needed to specify any point within it. Thus a line has a dimension of one only one coordinate is needed to specify a point on it – for example. The inside of a cube, a cylinder or a sphere is three-dimensional because three coordinates are needed to locate a point within these spaces, in classical mechanics, space and time are different categories and refer to absolute space and time. That conception of the world is a space but not the one that was found necessary to describe electromagnetism. The four dimensions of spacetime consist of events that are not absolutely defined spatially and temporally, Minkowski space first approximates the universe without gravity, the pseudo-Riemannian manifolds of general relativity describe spacetime with matter and gravity. Ten dimensions are used to string theory, and the state-space of quantum mechanics is an infinite-dimensional function space. The concept of dimension is not restricted to physical objects, high-dimensional spaces frequently occur in mathematics and the sciences. They may be parameter spaces or configuration spaces such as in Lagrangian or Hamiltonian mechanics, in mathematics, the dimension of an object is an intrinsic property independent of the space in which the object is embedded. This intrinsic notion of dimension is one of the ways the mathematical notion of dimension differs from its common usages. The dimension of Euclidean n-space En is n, when trying to generalize to other types of spaces, one is faced with the question what makes En n-dimensional. One answer is that to cover a ball in En by small balls of radius ε. This observation leads to the definition of the Minkowski dimension and its more sophisticated variant, the Hausdorff dimension, for example, the boundary of a ball in En looks locally like En-1 and this leads to the notion of the inductive dimension. While these notions agree on En, they turn out to be different when one looks at more general spaces, a tesseract is an example of a four-dimensional object. The rest of this section some of the more important mathematical definitions of the dimensions. A complex number has a real part x and an imaginary part y, a single complex coordinate system may be applied to an object having two real dimensions. For example, an ordinary two-dimensional spherical surface, when given a complex metric, complex dimensions appear in the study of complex manifolds and algebraic varieties. The dimension of a space is the number of vectors in any basis for the space. This notion of dimension is referred to as the Hamel dimension or algebraic dimension to distinguish it from other notions of dimension
31.
Model (art)
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An art model poses for any visual artist as part of the creative process, providing a visual reference for the human figure in a work of art. However, more than being simply the subject of art, models are thought of as muses. The most common types of art works that use models are figure drawing, figure painting, sculpture and photography, Art models are often paid professionals with skill and experience but are rarely employed full-time, and artists may also rely on friends and family to pose. Paid art models are usually anonymous and unacknowledged subjects of the work, Models are most frequently employed for art classes or by informal groups of artists that gather to share the expense of a model. Models are also employed privately by professional artists, although commercial motives dominate over aesthetics in illustration, its artwork commonly employs models. For example, Norman Rockwell used his friends and neighbors as models for both his commercial and fine art work. An individual who is having their own portrait painted or sculpted is usually called a rather than a model. Throughout the history of Western art, drawing the figure from living models was considered the most effective way to develop the skill of draftsmanship. First, it is best to draw from life, rather than copying two dimensional images such as photographs, second, an artist has a connection to drawing another human being that cannot exist with any other subject. Models for life drawing classes are usually nude, in the classroom setting, where the purpose is to learn how to draw the human form in all the different shapes, ages and ethnicity, there are no real limitations on who the model can be. In some cases, the model may pose with props, one or more other models, against real or artificial background, in natural or artificial light. The role of art models has changed through different eras as the meaning and importance of the figure in art. Nude modeling, nude art and nudity in general are at times subject to social disapproval, Poses can range in length from seconds to many hours. There is a drawing exercise were the model slowly but continuously moves, drawing sessions proceed though groups of 5,10,15, or 20 minute poses generally for a total of three hours. Active, gestural, or challenging standing poses are often scheduled at the beginning of a session when the energy level is highest. Specific exercises or lesson plans may require a type of pose. The more a model knows about the types of exercises used to teach art, posing for a typical figure artists group Poses fall into three basic categories, standing, seated and reclining. Within each of these there are varying levels of difficulty, so one kind is not always easier than another, Artists and life drawing instructors will often prefer poses in which the body is being exerted, for a more dynamic and aesthetically interesting subject
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Drawing
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Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. A drawing instrument releases small amount of material onto a surface, the most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything, the medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas, the wide availability of drawing instruments makes drawing one of the most common artistic activities. In addition to its artistic forms, drawing is frequently used in commercial illustration, animation, architecture, engineering. A quick, freehand drawing, usually not intended as a work, is sometimes called a sketch. An artist who practices or works in technical drawing may be called a drafter, Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper/other material, traditional drawings were monochrome, or at least had little colour, while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks, dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a medium, applied with brushes or pens. Drawing is often exploratory, with emphasis on observation, problem-solving. Drawing is also used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies, there are several categories of drawing, including figure drawing, cartooning, doodling, free hand and shading. There are also many drawing methods, such as drawing, stippling, shading, the surrealist method of entopic graphomania. A quick, unrefined drawing may be called a sketch, in fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called drawings even when they have been transferred to another medium by printing. Drawing as a Form of Communication Drawing is one of the oldest forms of human expression and these drawings, known as pictograms, depicted objects and abstract concepts. The sketches and paintings produced in prehistoric times were eventually stylised and simplified, Drawing in the Arts Drawing is used to express ones creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise, initially, artists used and reused wooden tablets for the production of their drawings
33.
Realism (arts)
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Realism in the arts is the attempt to represent subject matter truthfully, without artificiality and avoiding artistic conventions, implausible, exotic and supernatural elements. Realism has been prevalent in the arts at many periods, and is in part a matter of technique and training. In the visual arts, illusionistic realism is the depiction of lifeforms, perspective. Realist works of art may emphasize the mundane, ugly or sordid, such as works of realism, regionalism. There have been various movements in the arts, such as the opera style of verismo, literary realism, theatrical realism. The realism art movement in painting began in France in the 1850s, the realist painters rejected Romanticism, which had come to dominate French literature and art, with roots in the late 18th century. Realism is the precise, detailed and accurate representation in art of the appearance of scenes. Realism in this sense is also called naturalism, mimesis or illusionism, realistic art was created in many periods, and it is in large part a matter of technique and training, and the avoidance of stylization. It becomes especially marked in European painting in the Early Netherlandish painting of Jan van Eyck, however such realism is often used to depict, for example, angels with wings, which were not things the artists had ever seen in real life. It is the choice and treatment of matter that defines Realism as a movement in painting. The development of increasingly accurate representation of the appearances of things has a long history in art. It includes elements such as the depiction of the anatomy of humans and animals, of perspective and effects of distance. Ancient Greek art is recognised as having made great progress in the representation of anatomy. Pliny the Elders famous story of birds pecking at grapes painted by Zeuxis in the 5th century BC may well be a legend, roman portraiture, when not under too much Greek influence, shows a greater commitment to a truthful depiction of its subjects. The art of Late Antiquity famously rejected illusionism for expressive force, scientific methods of representing perspective were developed in Italy and gradually spread across Europe, and accuracy in anatomy rediscovered under the influence of classical art. As in classical times, idealism remained the norm, intriguingly, having led the development of illusionic painting, still life was to be equally significant in its abandonment in Cubism. The depiction of ordinary, everyday subjects in art also has a history, though it was often squeezed into the edges of compositions. However these objects are at least largely there because they carry layers of complex significance, pieter Bruegel the Elder pioneered large panoramic scenes of peasant life
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Plaster
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Plaster is a building material used for the protective and/or decorative coating of walls and ceilings and for moulding and casting decorative elements. In English plaster usually means a material used for the interiors of buildings, another imprecise term used for the material is stucco, which is also often used for plasterwork that is worked in some way to produce relief decoration, rather than flat surfaces. The most common types of plaster mainly contain either gypsum, lime, or cement, the plaster is manufactured as a dry powder and is mixed with water to form a stiff but workable paste immediately before it is applied to the surface. The reaction with water liberates heat through crystallization and the hydrated plaster then hardens, plaster can be relatively easily worked with metal tools or even sandpaper, and can be moulded, either on site or to make pre-formed sections in advance, which are put in place with adhesive. Plaster is not a material, it is suitable for finishing, rather than load-bearing. Forms of plaster have several other uses, in medicine plaster orthopedic casts are still often used for supporting set broken bones. In dentistry plaster is used to make dental models, various types of models and moulds are made with plaster. In art, lime plaster is the matrix for fresco painting. Gypsum plaster, or plaster of Paris, is produced by heating gypsum to about 300 °F, when the dry plaster powder is mixed with water, it re-forms into gypsum. The setting of unmodified plaster starts about 10 minutes after mixing and is complete in about 45 minutes, if plaster or gypsum is heated above 266 °F, hemihydrate is formed, which will also re-form as gypsum if mixed with water. On heating to 180 °C, the nearly water-free form, called γ-anhydrite is produced, γ-Anhydrite reacts slowly with water to return to the dihydrate state, a property exploited in some commercial desiccants. On heating above 250 °C, the anhydrous form called β-anhydrite or dead burned plaster is formed. A large gypsum deposit at Montmartre in Paris led calcined gypsum to be known as plaster of Paris. Plasterers often use gypsum to simulate the appearance of surfaces of wood, stone, or metal, on movie, nowadays, theatrical plasterers often use expanded polystyrene, although the job title remains unchanged. Plaster of Paris can be used to impregnate gauze bandages to make a material called plaster bandages. It is used similarly to clay, as it is shaped when wet, yet sets into a resilient. This is the material that was used to make classic plaster orthopedic casts to protect limbs with broken bones, set Modroc is an early example of a composite material. The hydration of plaster of Paris relies on the reaction of water with the dehydrated or partially hydrated calcium sulfate present in the plaster, lime plaster is a mixture of calcium hydroxide and sand
35.
Outline of human anatomy
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The following outline is provided as an overview of and topical guide to human anatomy, Human anatomy – scientific study of the morphology of the adult human. It is subdivided into gross anatomy and microscopic anatomy, gross anatomy is the study of anatomical structures that can be seen by unaided vision. Microscopic anatomy is the study of anatomical structures assisted with microscopes, and includes histology. While the order is standardized, the relationships in the TA are somewhat vague. John Hunter William Hunter Jean Baptiste Paulin Trolard Juan Valverde de Amusco Jeffrey Laitman Eber Landau Joseph Lieutaud Amato Lusitano Niko Miljanić Keith L. 20th edition
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Nature
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Nature, in the broadest sense, is the natural, physical, or material world or universe. Nature can refer to the phenomena of the world. The study of nature is a part of science. Although humans are part of nature, human activity is understood as a separate category from other natural phenomena. The word nature is derived from the Latin word natura, or essential qualities, innate disposition, and in ancient times, literally meant birth. Natura is a Latin translation of the Greek word physis, which related to the intrinsic characteristics that plants, animals. This usage continued during the advent of scientific method in the last several centuries. Within the various uses of the word today, nature often refers to geology, for example, manufactured objects and human interaction generally are not considered part of nature, unless qualified as, for example, human nature or the whole of nature. Depending on the context, the term natural might also be distinguished from the unnatural or the supernatural. Earth is the planet known to support life, and its natural features are the subject of many fields of scientific research. Within the solar system, it is third closest to the sun, it is the largest terrestrial planet and its most prominent climatic features are its two large polar regions, two relatively narrow temperate zones, and a wide equatorial tropical to subtropical region. Precipitation varies widely with location, from several metres of water per year to less than a millimetre,71 percent of the Earths surface is covered by salt-water oceans. The remainder consists of continents and islands, with most of the land in the Northern Hemisphere. Earth has evolved through geological and biological processes that have left traces of the original conditions, the outer surface is divided into several gradually migrating tectonic plates. The interior remains active, with a layer of plastic mantle. This iron core is composed of a solid phase. Convective motion in the core generates electric currents through dynamo action, the atmospheric conditions have been significantly altered from the original conditions by the presence of life-forms, which create an ecological balance that stabilizes the surface conditions. Geology is the science and study of the solid and liquid matter that constitutes the Earth, the geology of an area evolves through time as rock units are deposited and inserted and deformational processes change their shapes and locations
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Shadow
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A shadow is a dark area where light from a light source is blocked by an opaque object. It occupies all of the volume behind an object with light in front of it. The cross section of a shadow is a silhouette, or a reverse projection of the object blocking the light. A point source of light casts only a shadow, called an umbra. For a non-point or extended source of light, the shadow is divided into the umbra, penumbra and antumbra, the wider the light source, the more blurred the shadow becomes. If two penumbras overlap, the appear to attract and merge. This is known as the Shadow Blister Effect, the outlines of the shadow zones can be found by tracing the rays of light emitted by the outermost regions of the extended light source. The umbra region does not receive any direct light from any part of the light source, a viewer located in the umbra region cannot directly see any part of the light source. By contrast, the penumbra is illuminated by some parts of the light source, a viewer located in the penumbra region will see the light source, but it is partially blocked by the object casting the shadow. If there is more than one source, there will be several shadows, with the overlapping parts darker. The more diffuse the lighting is, the softer and more indistinct the shadow outlines become, the lighting of an overcast sky produces few visible shadows. The absence of diffusing atmospheric effects in the vacuum of outer space produces shadows that are stark, for a person or object touching the surface where the shadow is projected the shadows converge at the point of contact. A shadow shows, apart from distortion, the image as the silhouette when looking at the object from the sun-side. The names umbra, penumbra and antumbra are often used for the shadows cast by objects, though they are sometimes used to describe levels of darkness. An astronomical object casts human-visible shadows when its apparent magnitude is equal or lower than -4, currently the only astronomical objects able to produce visible shadows on Earth are the sun, the moon and, in the right conditions, Venus or Jupiter. A shadow cast by the Earth on the Moon is a lunar eclipse, conversely, a shadow cast by the Moon on the Earth is a solar eclipse. The sun casts shadows which change dramatically through the day, the length of a shadow cast on the ground is proportional to the cotangent of the suns elevation angle—its angle θ relative to the horizon. Near sunrise and sunset, when θ = 0° and cot = ∞, if the sun passes directly overhead, then θ = 90°, cot =0, and shadows are cast directly underneath objects
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Grayscale
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In photography and computing, a grayscale or greyscale digital image is an image in which the value of each pixel is a single sample, that is, it carries only intensity information. Images of this sort, also known as black-and-white, are composed exclusively of shades of gray, grayscale images are distinct from one-bit bi-tonal black-and-white images, which in the context of computer imaging are images with only two colors, black and white. Grayscale images have many shades of gray in between, but also they can be synthesized from a full color image, see the section about converting to grayscale. The intensity of a pixel is expressed within a range between a minimum and a maximum, inclusive. This range is represented in a way as a range from 0 and 1. This notation is used in papers, but this does not define what black or white is in terms of colorimetry. Another convention is to employ percentages, so the scale is then from 0% to 100%. This is used for an intuitive approach, but if only integer values are used, the range encompasses a total of only 101 intensities. Also, the notation is used in printing to denote how much ink is employed in halftoning. In computing, although the grayscale can be computed through rational numbers, image pixels are stored in binary, the precision provided by this format is barely sufficient to avoid visible banding artifacts, but very convenient for programming because a single pixel then occupies a single byte. Technical uses often require more levels, to full use of the sensor accuracy. Sixteen bits per sample is a convenient choice for such uses, the TIFF and the PNG image file formats support 16-bit grayscale natively, although browsers and many imaging programs tend to ignore the low order 8 bits of each pixel. No matter what pixel depth is used, the binary representations assume that 0 is black, a common strategy is to use the principles of photometry or, more broadly, colorimetry to match the luminance of the grayscale image to the luminance of the original color image. This also ensures that both images will have the absolute luminance, as can be measured in its SI units of candelas per square meter, in any given area of the image. Then, linear luminance is calculated as a sum of the three linear-intensity values. To encode grayscale intensity in linear RGB, each of the three primaries can be set to equal the calculated linear luminance Y, linear luminance typically needs to be gamma compressed to get back to a conventional non-linear representation. In practice, because the three components are then equal, it is only necessary to store these values once in sRGB-compatible image formats that support a single-channel representation. The ITU-R BT.709 standard used for HDTV developed by the ATSC uses different color coefficients, although these are numerically the same coefficients used in sRGB above, the effect is different because here they are being applied directly to gamma-compressed values
39.
Charles H. Cecil Studios
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The Charles H. Cecil Studios is a private atelier in Florence, Italy. It is run by American painter and art historian Charles H. Cecil and it offers training in classical techniques of drawing and oil painting. Charles H. Cecil Studios occupies the most historic Florentine atelier still in active use, the curriculum stems directly from the leading ateliers of nineteenth-century Paris. Fundamental to the teaching is the practice of drawing and painting from life, another important practice is the sight-size technique whereby subject and image are depicted to scale as seen from a given distance. The studio accepts only a number of pupils each year. Cecil personally supervises the progress of their work and is assisted by advanced students, official Homepage of the Charles H. Cecil Studios Art Classes in Florence, Travel + Leisure, March 2006. Return to Florence - an independent documentary about this atelier A former student and professional painters website glossary information about artist and atelier teacher Charles Harkless Cecil
40.
Carolus-Duran
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Charles Auguste Émile Durand, known as Carolus-Duran, was a French painter and art instructor. He is noted for his depictions of members of high society in Third Republic France. He was the son of a hotel owner and his first drawing lessons were with a local sculptor named Augustin-Phidias Cadet de Beaupré at the Académie de Lille, then took up painting with François Souchon, a student of Jacques Louis David. He went to Paris in 1853, where he adopted the name Carolus-Duran, in 1859, he had his first exhibition at the Salon. That same year, he began attending the Académie Suisse, where he studied until 1861, one of his early influences was the Realism of Gustave Courbet. From 1862 to 1866, he travelled to Rome and Spain, during that time, he moved away from Courbets style and became more interested in Diego Vélazquez. Upon returning to France, he was awarded his first gold medal at the Salon, in 1867, he became one of the nine members of the Société Japonaise du Jinglar, a group that included Henri Fantin-Latour, Félix Bracquemond and Marc-Louis Solon. They would meet once a month in Sèvres for a dinner à la Japonaise and he married Pauline Croizette, a pastellist and miniaturist who had posed for his painting The Lady in Gloves in 1869. Their eldest daughter, Marie-Anne, married the playwright Georges Feydeau, after 1870, he devoted himself almost entirely to portraits. His success allowed him to open a studio on the Boulevard du Montparnasse and he was named a Knight in the Légion dhonneur in 1872, being promoted to Officer in 1878, Commander in 1889 and Grand Officer in 1900. In 1889 and 1900 he served on the juries at the Expositions Universelles, in 1890, he was one of the co-founders of the second Société Nationale des Beaux-Arts and he was elected a member of the Académie des Beaux-Arts in 1904. The following year, he was appointed Director of the French Academy in Rome and he was a frequent visitor to the resort at Fréjus, where he owned a small villa. Following his death, the resort named a plaza and a beach after him and they include John Singer Sargent, Ralph Wormeley Curtis, Kenyon Cox Theodore Robinson, Mariquita Jenny Moberly. Mariette Leslie Cotton, Maximilien Luce, James Carroll Beckwith, Will Hicok Low, Paul Helleu, Robert Alan Mowbray Stevenson, of his twenty-five most notable students, the majority were English or American. Attribution This article incorporates text from a now in the public domain, Chisholm, Hugh. Paintings of Carolus-Duran on Insecula Works by Carolus-Duran at Project Gutenberg Carolus-Duran in American public collections, on the French Sculpture Census website
41.
Classical antiquity
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It is the period in which Greek and Roman society flourished and wielded great influence throughout Europe, North Africa and Southwestern Asia. Conventionally, it is taken to begin with the earliest-recorded Epic Greek poetry of Homer, and continues through the emergence of Christianity and it ends with the dissolution of classical culture at the close of Late Antiquity, blending into the Early Middle Ages. Such a wide sampling of history and territory covers many disparate cultures, Classical antiquity may refer also to an idealised vision among later people of what was, in Edgar Allan Poes words, the glory that was Greece, and the grandeur that was Rome. The culture of the ancient Greeks, together with influences from the ancient Near East, was the basis of art, philosophy, society. The earliest period of classical antiquity takes place before the background of gradual re-appearance of historical sources following the Bronze Age collapse, the 8th and 7th centuries BC are still largely proto-historical, with the earliest Greek alphabetic inscriptions appearing in the first half of the 8th century. Homer is usually assumed to have lived in the 8th or 7th century BC, in the same period falls the traditional date for the establishment of the Ancient Olympic Games, in 776 BC. The Phoenicians originally expanded from Canaan ports, by the 8th century dominating trade in the Mediterranean, carthage was founded in 814 BC, and the Carthaginians by 700 BC had firmly established strongholds in Sicily, Italy and Sardinia, which created conflicts of interest with Etruria. The Etruscans had established control in the region by the late 7th century BC, forming the aristocratic. According to legend, Rome was founded on April 21,753 BC by twin descendants of the Trojan prince Aeneas, Romulus and Remus. As the city was bereft of women, legend says that the Latins invited the Sabines to a festival and stole their unmarried maidens, leading to the integration of the Latins and the Sabines. Archaeological evidence indeed shows first traces of settlement at the Roman Forum in the mid-8th century BC, the seventh and final king of Rome was Tarquinius Superbus. As the son of Tarquinius Priscus and the son-in-law of Servius Tullius, Superbus was of Etruscan birth and it was during his reign that the Etruscans reached their apex of power. Superbus removed and destroyed all the Sabine shrines and altars from the Tarpeian Rock, the people came to object to his rule when he failed to recognize the rape of Lucretia, a patrician Roman, at the hands of his own son. Lucretias kinsman, Lucius Junius Brutus, summoned the Senate and had Superbus, after Superbus expulsion, the Senate voted to never again allow the rule of a king and reformed Rome into a republican government in 509 BC. In fact the Latin word Rex meaning King became a dirty and hated throughout the Republic. In 510, Spartan troops helped the Athenians overthrow the tyrant Hippias, cleomenes I, king of Sparta, put in place a pro-Spartan oligarchy conducted by Isagoras. Greece entered the 4th century under Spartan hegemony, but by 395 BC the Spartan rulers removed Lysander from office, and Sparta lost her naval supremacy. Athens, Argos, Thebes and Corinth, the two of which were formerly Spartan allies, challenged Spartan dominance in the Corinthian War, which ended inconclusively in 387 BC
42.
Neoclassicism
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The main Neoclassical movement coincided with the 18th-century Age of Enlightenment, and continued into the early 19th century, laterally competing with Romanticism. In architecture, the style continued throughout the 19th, 20th, European Neoclassicism in the visual arts began c.1760 in opposition to the then-dominant Baroque and Rococo styles. Each neo-classicism selects some models among the range of classics that are available to it. They ignored both Archaic Greek art and the works of Late Antiquity, the Rococo art of ancient Palmyra came as a revelation, through engravings in Woods The Ruins of Palmyra. While the movement is described as the opposed counterpart of Romanticism. The case of the main champion of late Neoclassicism, Ingres, demonstrates this especially well. The revival can be traced to the establishment of formal archaeology, the writings of Johann Joachim Winckelmann were important in shaping this movement in both architecture and the visual arts. With the advent of the Grand Tour, a fad of collecting antiquities began that laid the foundations of many great collections spreading a Neoclassical revival throughout Europe, Neoclassicism in each art implies a particular canon of a classical model. In English, the term Neoclassicism is used primarily of the arts, the similar movement in English literature. This, which had been dominant for decades, was beginning to decline by the time Neoclassicism in the visual arts became fashionable. Though terms differ, the situation in French literature was similar, in music, the period saw the rise of classical music, and Neoclassicism is used of 20th-century developments. Ingress coronation portrait of Napoleon even borrowed from Late Antique consular diptychs and their Carolingian revival, much Neoclassical painting is more classicizing in subject matter than in anything else. A fierce, but often very badly informed, dispute raged for decades over the merits of Greek and Roman art, with Winckelmann. The work of artists, who could not easily be described as insipid, combined aspects of Romanticism with a generally Neoclassical style. Unlike Carstens unrealized schemes, the etchings of Giovanni Battista Piranesi were numerous and profitable and his main subject matter was the buildings and ruins of Rome, and he was more stimulated by the ancient than the modern. Neoclassicism in painting gained a new sense of direction with the success of Jacques-Louis Davids Oath of the Horatii at the Paris Salon of 1785. Despite its evocation of republican virtues, this was a commission by the royal government, David managed to combine an idealist style with drama and forcefulness. David rapidly became the leader of French art, and after the French Revolution became a politician with control of government patronage in art
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Bouguereau
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William-Adolphe Bouguereau was a French academic painter and traditionalist. In his realistic genre paintings he used mythological themes, making modern interpretations of classical subjects, during his life he enjoyed significant popularity in France and the United States, was given numerous official honors, and received top prices for his work. As the quintessential salon painter of his generation, he was reviled by the Impressionist avant-garde, by the early twentieth century, Bouguereau and his art fell out of favor with the public, due in part to changing tastes. In the 1980s, a revival of interest in figure painting led to a rediscovery of Bouguereau, throughout the course of his life, Bouguereau executed 822 known finished paintings, although the whereabouts of many are still unknown. William-Adolphe Bouguereau was born in La Rochelle, France, on November 30,1825, into a family of wine, the son of Théodore Bouguereau and Marie Bonnin, known as Adeline, William was brought up a Catholic. He had a brother, Alfred, and a younger sister, Marie. The family moved to Saint-Martin-de-Ré in 1832, another sibling was born in 1834, Kitty. At 12 the boy went to Mortagne to stay with his uncle Eugène, a priest, in 1839 he was sent to study the priesthood at a Catholic college in Pons. Here he was taught to draw and paint by Louis Sage who had studied under Ingres, William reluctantly left his studies to return to his family, now residing in Bordeaux. Here the boy met a local artist, Charles Marionneau, William also worked as a shop assistant, hand-colouring lithographs and making small paintings that were reproduced using chromolithography. He was soon the best pupil in his class and decided to become an artist in Paris, to fund the move, he sold portraits -33 oils in three months. All were unsigned and only one has been traced and he arrived in Paris aged 20 in March 1846. Bouguereau became a student at the École des Beaux-Arts, to supplement his formal training in drawing, he attended anatomical dissections and studied historical costumes and archeology. He was admitted to the studio of François-Édouard Picot, where he studied painting in the academic style and he also studied classical literature, which influenced his subject choice for the rest of his career. In April 1848 the young artist entered the Prix de Rome contest, soon after work began there were riots in Paris and Bouguereau enrolled in the National Guard. After an unsuccessful attempt to win the prize, he entered again in 1849, following 106 days of competition he again failed to win. His third attempt commenced in April 1850 and five months later he heard he had won a joint first prize, along with other category winners, William set off for Rome in December and finally arrived at the Villa Medici in January 1851. He explored the city, making sketches and watercolours as he went and he walked to Naples and on to Capri, Amalfi and Pompeii
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