1.
Claude Monet
–
Monets ambition of documenting the French countryside led him to adopt a method of painting the same scene many times in order to capture the changing of light and the passing of the seasons. From 1883 Monet lived in Giverny, where he purchased a house and property, Claude Monet was born on 14 November 1840 on the fifth floor of 45 rue Laffitte, in the 9th arrondissement of Paris. He was the son of Claude Adolphe Monet and Louise Justine Aubrée Monet. On 20 May 1841, he was baptized in the parish church, Notre-Dame-de-Lorette, as Oscar-Claude. Despite being baptized Catholic, Monet later became an atheist, in 1845, his family moved to Le Havre in Normandy. His father wanted him to go into the familys ship-chandling and grocery business and his mother was a singer, and supported Monets desire for a career in art. On 1 April 1851, Monet entered Le Havre secondary school of the arts, locals knew him well for his charcoal caricatures, which he would sell for ten to twenty francs. Monet also undertook his first drawing lessons from Jacques-François Ochard, a student of Jacques-Louis David. On the beaches of Normandy around 1856 he met fellow artist Eugène Boudin, Boudin taught Monet en plein air techniques for painting. Both received the influence of Johan Barthold Jongkind, on 28 January 1857, his mother died. At the age of sixteen, he left school and went to live with his widowed, childless aunt, when Monet traveled to Paris to visit the Louvre, he witnessed painters copying from the old masters. Having brought his paints and other tools with him, he would go and sit by a window. Monet was in Paris for several years and met other painters, including Édouard Manet and others who would become friends. After drawing a low number in March 1861, Monet was drafted into the First Regiment of African Light Cavalry in Algeria for a seven-year period of military service. His prosperous father could have purchased Monets exemption from conscription but declined to do so when his son refused to give up painting. While in Algeria Monet did only a few sketches of scenes, a single landscape. In a Le Temps interview of 1900 however he commented that the light, after about a year of garrison duty in Algiers, Monet contracted typhoid fever and briefly went absent without leave. Following convalescence, Monets aunt intervened to get him out of the army if he agreed to complete a course at an art school and it is possible that the Dutch painter Johan Barthold Jongkind, whom Monet knew, may have prompted his aunt on this matter
Claude Monet
–
Claude Monet, photo by
Nadar, 1899.
Claude Monet
–
Impression, Sunrise (Impression, soleil levant), 1872; the painting that gave its name to the style.
Musée Marmottan Monet, Paris
Claude Monet
–
The Woman in the Green Dress,
Camille Doncieux, 1866,
Kunsthalle Bremen
Claude Monet
–
Le déjeuner sur l'herbe, (right section), 1865–1866, with
Gustave Courbet,
Frédéric Bazille and Camille Doncieux, first wife of the artist,
Musée d'Orsay,
Paris
2.
Pierre-Auguste Renoir
–
Pierre-Auguste Renoir, commonly known as Auguste Renoir, was a French artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty and especially feminine sensuality, it has said that Renoir is the final representative of a tradition which runs directly from Rubens to Watteau. He was the father of actor Pierre Renoir, filmmaker Jean Renoir and he was the grandfather of the filmmaker Claude Renoir, son of Pierre. Pierre-Auguste Renoir was born in Limoges, Haute-Vienne, France, in 1841 and his father, Léonard Renoir, was a tailor of modest means, so in 1844, Renoirs family moved to Paris in search of more favorable prospects. The location of their home, in rue d’Argenteuil in central Paris, although the young Renoir had a natural proclivity for drawing, he exhibited a greater talent for singing. His talent was encouraged by his teacher, Charles Gounod, who was the choir-master at the Church of St Roch at the time. However, due to the financial circumstances, Renoir had to discontinue his music lessons. Although Renoir displayed a talent for his work, he tired of the subject matter. The owner of the factory recognized his apprentice’s talent and communicated this to Renoir’s family, following this, Renoir started taking lessons to prepare for entry into Ecole des Beaux Arts. When the porcelain factory adopted mechanical reproduction processes in 1858, Renoir was forced to other means to support his learning. Before he enrolled in art school, he also painted hangings for overseas missionaries, in 1862, he began studying art under Charles Gleyre in Paris. There he met Alfred Sisley, Frédéric Bazille, and Claude Monet, at times, during the 1860s, he did not have enough money to buy paint. Renoir had his first success at the Salon of 1868 with his painting Lise with a Parasol, although Renoir first started exhibiting paintings at the Paris Salon in 1864, recognition was slow in coming, partly as a result of the turmoil of the Franco-Prussian War. This loss of a favorite painting location resulted in a change of subjects. Renoir was inspired by the style and subject matter of modern painters Camille Pissarro. Although the critical response to the exhibition was largely unfavorable, Renoirs work was well received. That same year, two of his works were shown with Durand-Ruel in London, hoping to secure a livelihood by attracting portrait commissions, Renoir displayed mostly portraits at the second Impressionist exhibition in 1876. He contributed a diverse range of paintings the next year when the group presented its third exhibition, they included Dance at Le Moulin de la Galette
Pierre-Auguste Renoir
–
Pierre-Auguste Renoir
Pierre-Auguste Renoir
–
The Theater Box, 1874,
Courtauld Institute Galleries, London
Pierre-Auguste Renoir
–
Lise Sewing, 1866,
Dallas Museum of Art
Pierre-Auguste Renoir
–
The Swing (La Balançoire), 1876, oil on canvas,
Musée d'Orsay, Paris
3.
Lyons, France
–
Lyon or Lyons is a city in east-central France, in the Auvergne-Rhône-Alpes region, about 470 km from Paris and 320 km from Marseille. Inhabitants of the city are called Lyonnais, Lyon had a population of 506,615 in 2014 and is Frances third-largest city after Paris and Marseille. Lyon is the capital of the Metropolis of Lyon and the region of Auvergne-Rhône-Alpes, the metropolitan area of Lyon had a population of 2,237,676 in 2013, the second-largest in France after Paris. The city is known for its cuisine and gastronomy and historical and architectural landmarks and is a UNESCO World Heritage Site, Lyon was historically an important area for the production and weaving of silk. It played a significant role in the history of cinema, Auguste, the city is also known for its famous light festival, Fête des Lumières, which occurs every 8 December and lasts for four days, earning Lyon the title of Capital of Lights. Economically, Lyon is a centre for banking, as well as for the chemical, pharmaceutical. The city contains a significant software industry with a focus on video games. Lyon hosts the headquarters of Interpol, Euronews, and International Agency for Research on Cancer. Lyon was ranked 19th globally and second in France for innovation in 2014 and it ranked second in France and 39th globally in Mercers 2015 liveability rankings. These refugees had been expelled from Vienne by the Allobroges and were now encamped at the confluence of the Saône and Rhône rivers, dio Cassius says this task was to keep the two men from joining Mark Antony and bringing their armies into the developing conflict. The Roman foundation was at Fourvière hill and was officially called Colonia Copia Felix Munatia, a name invoking prosperity, the city became increasingly referred to as Lugdunum. The earliest translation of this Gaulish place-name as Desired Mountain is offered by the 9th-century Endlicher Glossary, in contrast, some modern scholars have proposed a Gaulish hill-fort named Lugdunon, after the Celtic god Lugus, and dúnon. It then became the capital of Gaul, partly due to its convenient location at the convergence of two rivers, and quickly became the main city of Gaul. Two emperors were born in city, Claudius, whose speech is preserved in the Lyon Tablet in which he justifies the nomination of Gallic senators. Today, the archbishop of Lyon is still referred to as Primat des Gaules, the Christians in Lyon were martyred for their beliefs under the reigns of various Roman emperors, most notably Marcus Aurelius and Septimus Severus. Local saints from this period include Blandina, Pothinus, and Epipodius, in the second century AD, the great Christian bishop of Lyon was the Easterner, Irenaeus. Burgundian refugees fleeing the destruction of Worms by the Huns in 437 were re-settled by the commander of the west, Aëtius. This became the capital of the new Burgundian kingdom in 461, in 843, by the Treaty of Verdun, Lyon, with the country beyond the Saône, went to Lothair I
Lyons, France
–
Top, the Basilique de Notre-Dame de Fourvière, the Place des Terreaux with the Fontaine Bartholdi and Lyon City Hall at night. Centre, the Parc de la Tête d'Or, the Confluence district and the old city. Bottom, the Pont Lafayette, the Part-Dieu district with the Place Bellecour in the foreground during the Festival of Lights.
Lyons, France
–
Place Carnot, Lyons
Lyons, France
–
The lion has been the symbol of the city for centuries and is represented throughout the city.
Lyons, France
–
Lyon in the 18th century
4.
Sorbonne
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The Sorbonne is an edifice of the Latin Quarter, in Paris, France, which was the historical house of the former University of Paris. The name is derived from the Collège de Sorbonne, initiated during 1257 by the eponymous Robert de Sorbon as one of the first significant colleges of the medieval University of Paris. The university predates the college by about a century, and minor colleges had been founded already during the late 12th century, during the 16th century, the Sorbonne became involved with the intellectual struggle between Catholics and Protestants. The Collège de Sorbonne was suppressed during the French Revolution, reopened by Napoleon during 1808 and this was only one of the many colleges of the University of Paris that existed until the French revolution. After months of conflicts between students and authorities at the University of Paris at Nanterre, the administration closed that university on May 2,1968. Students at the Sorbonne campus in Paris met on May 3 to protest against the closure and the threatened expulsion of several students at Nanterre. More than 20,000 students, teachers and other endorsers marched towards the Sorbonne, still sealed off by the police, who charged, wielding their batons, as soon as the marchers approached. While the crowd dispersed, some began to make out of whatever was at hand, while others threw paving stones. The police then responded with tear gas and charged the crowd again, may 10 marked the Night of Barricades, where students used cars, wood, and cobblestones to barricade the streets of the Latin Quarter. Brutal street fighting ensued between students and riot police, most notably on Rue Gay-Lussac, early the next morning, as the fighting disbanded, Daniel Cohn-Bendit sent out a radio broadcast calling for a general strike. On Monday,13 May, more than one million workers went on strike, negotiations ended, and students returned to their campuses after a false report that the government had agreed to reopen them, only to discover police still occupying the schools. When the Sorbonne reopened, students occupied it and declared it an autonomous Peoples University, during 1970, the University of Paris was divided into thirteen universities, managed by a common rectorate, the Chancellerie des Universités de Paris, with offices in the Sorbonne. The building also houses the École Nationale des Chartes, the École pratique des hautes études, the Cours de Civilisation Française de la Sorbonne, nowadays, the use of the name refers more often to Panthéon-Sorbonne University for French public especially students in France. But, all Parisian universities like to refer as their ancestor, some alliances of universities use that name, like Sorbonne University. Listing of the works of Alexandre Falguière List of works by Henri Chapu La Sorbonne
Sorbonne
–
This article is about the university building in Paris, France. For the university with the same metonym, see
University of Paris.
Sorbonne
–
Inscription over an entrance to the Sorbonne
Sorbonne
–
The front of the Sorbonne Building
Sorbonne
–
Sorbonne Square (Place de la Sorbonne)
5.
Second French Empire
–
The Second French Empire was the Imperial Bonapartist regime of Napoleon III from 1852 to 1870, between the Second Republic and the Third Republic, in France. The structure of the French government during the Second Empire was little changed from the First, but Emperor Napoleon III stressed his own imperial role as the foundation of the government. He had so often, while in prison or in exile and his answer was to organize a system of government based on the principles of the Napoleonic Idea. This meant that the emperor, the elect of the people as the representative of the democracy, ruled supreme. He himself drew power and legitimacy from his role as representative of the great Napoleon I of France, the anti-parliamentary French Constitution of 1852 instituted by Napoleon III on 14 January 1852, was largely a repetition of that of 1848. All executive power was entrusted to the emperor, who, as head of state, was responsible to the people. The people of the Empire, lacking democratic rights, were to rely on the benevolence of the rather than on the benevolence of politicians. He was to nominate the members of the council of state, whose duty it was to prepare the laws, and of the senate, a body permanently established as a constituent part of the empire. One innovation was made, namely, that the Legislative Body was elected by universal suffrage and this new political change was rapidly followed by the same consequence as had attended that of Brumaire. The press was subjected to a system of cautionnements and avertissements, in order to counteract the opposition of individuals, a surveillance of suspects was instituted. In the same way public instruction was strictly supervised, the teaching of philosophy was suppressed in the lycées, for seven years France had no democratic life. The Empire governed by a series of plebiscites, up to 1857 the Opposition did not exist, from then till 1860 it was reduced to five members, Darimon, Émile Ollivier, Hénon, Jules Favre and Ernest Picard. On 2 December 1851 Louis-Napoléon Bonaparte, who had been elected President of the Republic and he thus became sole ruler of France, and re-established universal suffrage, previously abolished by the Assembly. His decisions and the extension of his mandate for 10 years were popularly endorsed by a referendum later that month that attracted an implausible 92 percent support. A new constitution was enacted in January 1852 which made Louis-Napoléon president for 10 years, however, he was not content with merely being an authoritarian president. Almost as soon as he signed the new document into law, in response to officially-inspired requests for the return of the empire, the Senate scheduled a second referendum in November, which passed with 97 percent support. As with the December 1851 referendum, most of the yes votes were manufactured out of thin air, the empire was formally re-established on 2 December 1852, and the Prince-President became Napoléon III, Emperor of the French. The constitution concentrated so much power in his hands that the only changes were to replace the word president with the word emperor
Second French Empire
–
Napoléon III
Second French Empire
–
Flag
Second French Empire
–
The official declaration of the Second Empire, at the
Hôtel de Ville de Paris, on December 2, 1852.
6.
Seine
–
The Seine is a 777-kilometre-long river and an important commercial waterway within the Paris Basin in the north of France. It rises at Source-Seine,30 kilometres northwest of Dijon in northeastern France in the Langres plateau, flowing through Paris and it is navigable by ocean-going vessels as far as Rouen,120 kilometres from the sea. There are 37 bridges within Paris and dozens more spanning the river outside the city, examples in Paris include the Pont Alexandre III and Pont Neuf, the latter of which dates back to 1607. Outside the city, examples include the Pont de Normandie, one of the longest cable-stayed bridges in the world, the Seine rises in the commune of Source-Seine, about 30 kilometres northwest of Dijon. The source has been owned by the city of Paris since 1864, a number of closely associated small ditches or depressions provide the source waters, with an artificial grotto laid out to highlight and contain a deemed main source. The grotto includes a statue of a nymph, on the same site are the buried remains of a Gallo-Roman temple. Small statues of the dea Sequana Seine goddess and other ex voti found at the place are now exhibited in the Dijon archeological museum. The Seine is dredged and oceangoing vessels can dock at Rouen,120 kilometres from the sea, commercial riverboats can use the river from Bar-sur-Seine,560 kilometres to its mouth. At Paris, there are 37 bridges, the river is only 24 metres above sea level 446 kilometres from its mouth, making it slow flowing and thus easily navigable. The Seine Maritime,105.7 kilometres from the English Channel at Le Havre to Rouen, is the portion of the Seine used by ocean-going craft. The tidal section of the Seine Maritime is followed by a section with four large multiple locks until the mouth of the Oise at Conflans-Sainte-Honorine. Multiple locks at Bougival / Chatou and at Suresnes lift the vessels to the level of the river in Paris, upstream from Paris seven locks ensure navigation to Saint Mammès, where the Loing mouth is situated. Through an eighth lock the river Yonne is reached at Montereau-Fault-Yonne, from the mouth of the Yonne, larger ships can continue upstream to Nogent-sur-Seine. From there on, the river is only by small craft. All navigation ends abruptly at Marcilly-sur-Seine, where the ancient Canal de la Haute-Seine used to allow vessels to continue all the way to Troyes and this canal has been abandoned for many years. The average depth of the Seine today at Paris is about 9.5 metres. Until locks were installed to raise the level in the 1800s, the river was much shallower within the city most of the time, today the depth is tightly controlled and the entire width of the river between the built-up banks on either side is normally filled with water. The average flow of the river is low, only a few cubic metres per second
Seine
–
The Seine in Paris
Seine
–
Seine source
Seine
–
The
Pont de Normandie over the Seine, between
Le Havre and
Honfleur, on the
Normandy coast
Seine
–
The Seine and Eiffel Tower
7.
Trouville-sur-Mer
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Trouville-sur-Mer, commonly referred to as Trouville, is a commune in the Calvados department in the Normandy region in northwestern France. This village of fishermen is a popular tourist attraction in Normandy, the towns inhabitants are called Trouvillais
Trouville-sur-Mer
–
Banks of the
Touques River
Trouville-sur-Mer
–
Brooklyn Museum - The Beach at Trouville (Trouville, La Plage) - Eugène Louis Boudin - overall
8.
Jean Monet (son of Claude Monet)
–
Jean Monet was the eldest son of French Impressionist artist Claude Monet and Camille Doncieux Monet and the brother of Michel Monet. He was the subject of paintings by his father and married his step-sister. Jean Monet was born to Camille Doncieux and Claude Monet on August 8,1867, during that summer Claude Monet had been in Sainte-Andresse, where he visited his aunt Sophie Lecadre and father Claude Monet. Camille, who received Monet for the birth and several days afterwards, was in Paris, the first portrait that Monet made of his son was of the four-month-old Jean Monet in His Cradle. Alongside Jean was a woman Julie Vellay, a companion of Camille Pissarro, mother and son were only shown in the same physical space in one painting during the Argenteuil years by Monet, The Luncheon. In 1868, after having left Paris to escape creditors and find more affordable housing and they were thrown out of the inn they were staying in for non-payment. Camille and Jean were able to stay with someone in the country, however, without money for a medical treatment, Jean became quite ill. After a dramatic period experienced by Camille and Jean, Claude was able to obtain funds for housing for his family in Le Havre and his parents were married on June 28,1870. When Jean was a child his mother and father had fled France during the Franco-Prussian War. They returned by the summer of 1872 when Claude painted his son on a hobby horse in the garden of the home the family rented in Argenteuil near Paris. Claude Monet kept the painting, and never exhibited it, throughout his life, paintings by Claude Monet He trained to be a chemist in Switzerland. Monet married Blanche Hoschedé in 1897 and they lived in Rouen, where Jean worked for his uncle Leon Monet as a chemist, and Beaumont-le-Roger until 1913. The couple visited Giverny on weekends, Jean suffered an illness for a period of time and died on February 10,1914. He is buried at the Giverny Church Cemetery, Giverny and his wife Blanche, father, and brother Michel are also buried at the cemetery
Jean Monet (son of Claude Monet)
–
Jean Monet in His Cradle, of the baby with Julie Vellay
Jean Monet (son of Claude Monet)
–
The Luncheon, Camille Doncieux and Jean Monet
Jean Monet (son of Claude Monet)
–
Jean Monet on his Hobby Horse, 1872,
Metropolitan Museum of Art
Jean Monet (son of Claude Monet)
–
Jean in the artist's house, 1875
9.
Sainte-Adresse
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Sainte-Adresse is a commune in the Seine-Maritime department in the Haute-Normandie region in northern France. A coastal suburb situated some 2 miles northwest of Le Havre city centre, at the junction of the D147, the English Channel forms the western border of the commune. The oldest known name of the commune was Caput Caleti mentioned in 1240, later known as Saint-Denis-Chef-de-Caux, named after an ancient place of worship and its position on the cape. In 1415, Henry V landed with his fleet, to claim the throne of France, starting in 1905, Georges Dufayel, a Parisian businessman, created a residential seaside resort known as Nice havrais, at Sainte Adresse. The local architect Ernest Daniel directed operations, the Avenue de Regatta on the waterfront is designed in the image of the promenade des Anglais in Nice. During World War I, Sainte-Adresse was the capital of Belgium. The Belgian government in exile was installed from October 1914 to November 1918 in the Dufayel building and it had at its disposal a post office using Belgian postage stamps. During World War II, the Germans built several fortifications here for the Atlantic Wall, the church of St. Denis, dating from the nineteenth century. Claude Monet, Jardin à Sainte-Adresse,1867,98.1 cm x 129.9 cm, Metropolitan Museum of Art, Georges Dufayel, Parisian businessman who built the Nice havrais resort and the building that still bears his name. Henri de Gaulle and his wife Jeanne, parents of Charles de Gaulle, are buried here, alphonse Karr, director ofFigaro, launches the first resort in 1841. Prosper Mérimée located the action of his story at Sainte-Adresse. normandythenandnow. com/sainte-adresse/
Sainte-Adresse
–
Pain de sucre (Sugar-loaf) memorial
Sainte-Adresse
–
The chapel of Notre-Dame-des-flots
Sainte-Adresse
–
"Jardin à Sainte-Adresse" by Claude Monet
Sainte-Adresse
–
"Régates à Sainte-Adresse" by Claude Monet
10.
8th arrondissement of Paris
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The 8th Arrondissement of Paris is one of the 20 arrondissements of the capital city of France. Situated on the bank of the River Seine and centred on the Champs-Élysées. According to the 1999 census, it was the place of employment of people than any other single arrondissement of the capital. The land area of the arrondissement is 3.881 km2, the arrondissement had its highest population of 107,485 in 1891. In 1999, it had almost a third of that number and it is one of Pariss least densely populated arrondissements and contains 1. 8% of the total population of Paris. The head offices of AXA, Bouygues, Électricité de France, Eurazeo, Sanofi-Aventis, GDF Suez, HSBC France, standard & Poors France office is located in the 8th arrondissement. Air China and China Southern Airlines have their Paris offices in the arrondissement, at one time the head office of Union des Transports Aériens was located in this arrondissement. The predecessor airline Union Aéromaritime de Transport also had its office in the 8th arrondissement. When Suez existed, its office was in the 8th arrondissement. When Unibail existed, its office was in the arrondissement. At one time Groupe Danone had its office in the 8th arrondissement. At one time Alcatel-Lucents head office was located in the arrondissement, at one time Northwest Airlines had its Paris offices in the Madeleine station. At one time All Nippon Airways operated an office in the arrondissement. The classes are held at the École Maternelle et Primaire Saint Francois dEylau in the 16th arrondissement, intégrale, Institut denseignement supérieur privé has also one of its campus in the 8th arrondissement. 8th arrondissement travel guide from Wikivoyage
8th arrondissement of Paris
–
The
Champs-Élysées in the 8th arrondissement during the
Christmas season.
8th arrondissement of Paris
–
Former
Alcatel-Lucent head office
8th arrondissement of Paris
–
Rue Royale, from the
Place de la Madeleine to the
place de la Concorde in the 8th arrondissement.
8th arrondissement of Paris
–
Lycée général et technologique Chaptal
11.
Gustave Courbet
–
Jean Désiré Gustave Courbet was a French painter who led the Realism movement in 19th-century French painting. Committed to painting only what he could see, he rejected academic convention and his independence set an example that was important to later artists, such as the Impressionists and the Cubists. Courbet occupies an important place in 19th-century French painting as an innovator, Courbets paintings of the late 1840s and early 1850s brought him his first recognition. They challenged convention by depicting unidealized peasants and workers, often on a grand scale traditionally reserved for paintings of religious or historical subjects, Courbets subsequent paintings were mostly of a less overtly political character, landscapes, seascapes, hunting scenes, nudes and still lifes. He was imprisoned for six months in 1871 for his involvement with the Paris Commune, Gustave Courbet was born in 1819 to Régis and Sylvie Oudot Courbet in Ornans. Being a prosperous farming family, anti-monarchical feelings prevailed in the household, Courbets sisters, Zoé, Zélie and Juliette, were his first models for drawing and painting. After moving to Paris he often returned home to Ornans to hunt, fish and he went to Paris in 1839 and worked at the studio of Steuben and Hesse. An independent spirit, he left, preferring to develop his own style by studying the paintings of Spanish, Flemish and French masters in the Louvre. Among his paintings of the early 1840s are several self-portraits, Romantic in conception, trips to the Netherlands and Belgium in 1846–47 strengthened Courbets belief that painters should portray the life around them, as Rembrandt, Hals and other Dutch masters had. By 1848, he had gained supporters among the younger critics, Courbet achieved his first Salon success in 1849 with his painting After Dinner at Ornans. The work, reminiscent of Chardin and Le Nain, earned Courbet a gold medal and was purchased by the state, the gold medal meant that his works would no longer require jury approval for exhibition at the Salon—an exemption Courbet enjoyed until 1857. In 1849-50, Courbet painted Stone-Breakers, which Proudhon admired as an icon of peasant life, the painting was inspired by a scene Courbet witnessed on the roadside. He later explained to Champfleury and the writer Francis Wey, It is not often that one encounters so complete an expression of poverty and so, right then, I told them to come to my studio the next morning. Courbets work belonged neither to the predominant Romantic nor Neoclassical schools, instead, he maintained that the only possible source for living art is the artists own experience. He and Jean-Francois Millet would find inspiration painting the life of peasants, Courbet painted figurative compositions, landscapes, seascapes, and still lifes. He courted controversy by addressing issues in his work, and by painting subjects that were considered vulgar, such as the rural bourgeoisie, peasants. His work, along with that of Honoré Daumier and Jean-François Millet and he depicted the harshness in life, and in so doing challenged contemporary academic ideas of art. The Salon of 1850–1851 found him triumphant with The Stone Breakers, the Burial, one of Courbets most important works, records the funeral of his grand uncle which he attended in September 1848
Gustave Courbet
–
Gustave Courbet c. 1860s (portrait by
Étienne Carjat)
Gustave Courbet
–
L'homme à la pipe (Self-portrait, Man with a pipe), 1848–49,
Musée Fabre, Montpellier
Gustave Courbet
–
Les Demoiselles du bord de la Seine, 1856,
Petit Palais, Paris: one of the most famous of Courbet's paintings. "The uncompromising emphasis on density and weight"
Gustave Courbet
–
The Wave (La Vague), 1869, oil on canvas, 66 x 90 cm,
Musée des beaux-arts de Lyon
12.
Franco-Prussian War
–
The conflict was caused by Prussian ambitions to extend German unification and French fears of the shift in the European balance of power that would result if the Prussians succeeded. On 16 July 1870, the French parliament voted to declare war on the German Kingdom of Prussia, the German coalition mobilised its troops much more quickly than the French and rapidly invaded northeastern France. The German forces were superior in numbers, had training and leadership and made more effective use of modern technology, particularly railroads. The German states proclaimed their union as the German Empire under the Prussian king Wilhelm I, the Treaty of Frankfurt of 10 May 1871 gave Germany most of Alsace and some parts of Lorraine, which became the Imperial territory of Alsace-Lorraine. French determination to regain Alsace-Lorraine and fear of another Franco-German war, along with British apprehension about the balance of power, the causes of the Franco-Prussian War are deeply rooted in the events surrounding the unification of Germany. In the aftermath of the Austro-Prussian War of 1866, Prussia had annexed numerous territories and this new power destabilized the European balance of power established by the Congress of Vienna in 1815 after the Napoleonic Wars. France was strongly opposed to any further alliance of German states, in Prussia, some officials considered a war against France both inevitable and necessary to arouse German nationalism in those states that would allow the unification of a great German empire. Bismarck also knew that France should be the aggressor in the conflict to bring the southern German states to side with Prussia, many Germans also viewed the French as the traditional destabilizer of Europe, and sought to weaken France to prevent further breaches of the peace. The immediate cause of the war resided in the candidacy of Leopold of Hohenzollern-Sigmaringen, France feared encirclement by an alliance between Prussia and Spain. The Hohenzollern princes candidacy was withdrawn under French diplomatic pressure, releasing the Ems Dispatch to the public, Bismarck made it sound as if the king had treated the French envoy in a demeaning fashion, which inflamed public opinion in France. They also argue that he wanted a war to resolve growing domestic political problems, other historians, notably French historian Pierre Milza, dispute this. According to Milza, the Emperor had no need for a war to increase his popularity, the Ems telegram had exactly the effect on French public opinion that Bismarck had intended. This text produced the effect of a red flag on the Gallic bull, gramont, the French foreign minister, declared that he felt he had just received a slap. Napoleons new prime minister, Emile Ollivier, declared that France had done all that it could humanly and honorably do to prevent the war, a crowd of 15–20,000 people, carrying flags and patriotic banners, marched through the streets of Paris, demanding war. On 19 July 1870 a declaration of war was sent to the Prussian government, the southern German states immediately sided with Prussia. The French Army consisted in peacetime of approximately 400,000 soldiers, some of them were veterans of previous French campaigns in the Crimean War, Algeria, the Franco-Austrian War in Italy, and in the Mexican campaign. Under Marshal Adolphe Niel, urgent reforms were made, universal conscription and a shorter period of service gave increased numbers of reservists, who would swell the army to a planned strength of 800,000 on mobilisation. Those who for any reason were not conscripted were to be enrolled in the Garde Mobile, however, the Franco-Prussian War broke out before these reforms could be completely implemented
Franco-Prussian War
–
Clockwise from top left: Prussian infantry at the
Battle of Spicheren;
Jeanniot 's 1886 La ligne de feu (
Battle of Mars-La-Tour);
Werner 's depiction of the
capitulation of Sedan;
Neuville 's 1873 Les dernières cartouches (
Battle of Bazeilles).
Franco-Prussian War
–
A French
mitrailleuse in the
Bundeswehr Military History Museum
Franco-Prussian War
–
French reservists responding to the call.
Franco-Prussian War
–
Map of German and French armies near their common border on 31 July 1870
13.
Le Havre
–
Le Havre is an urban French commune and city in the Seine-Maritime department in the Normandy region of northwestern France. It is situated on the bank of the estuary of the river Seine on the Channel southwest of the Pays de Caux. Modern Le Havre remains deeply influenced by its employment and maritime traditions and its port is the second largest in France, after that of Marseille, for total traffic, and the largest French container port. The name Le Havre means the harbour or the port and its inhabitants are known as Havrais or Havraises. Administratively the commune is located in the Normandy region and, with Dieppe, is one of the two sub-prefectures of the Seine-Maritime department, Le Havre is the capital of the canton and since 1974 has been the see of the diocese of Le Havre. Le Havre is the most populous commune of Upper Normandy, although the population of the greater Le Havre conurbation is smaller than that of Rouen. It is also the second largest subprefecture in France, the city and port were founded by the King Francis I of France in 1517. Economic development in the Early modern period was hampered by wars, conflicts with the English, epidemics. It was from the end of the 18th century that Le Havre started growing, after the 1944 bombings the firm of Auguste Perret began to rebuild the city in concrete. Changes in years 1990–2000 were numerous, the right won the municipal elections and committed the city to the path of reconversion, seeking to develop the service sector and new industries. The Port 2000 project increased the capacity to compete with ports of northern Europe, transformed the southern districts of the city. In 2005 UNESCO inscribed the city of Le Havre as a World Heritage Site. The André Malraux Modern Art Museum is the second of France for the number of impressionist paintings, the city has been awarded two flowers by the National Council of Towns and Villages in Bloom in the Competition of cities and villages in Bloom. Le Havre is a major French city located some 50 kilometres west of Rouen on the shore of the English Channel, numerous roads link to Le Havre with the main access roads being the A29 autoroute from Amiens and the A13 autoroute from Paris linking to the A131 autoroute. Administratively, Le Havre is a commune in the Haute-Normandie region in the west of the department of Seine-Maritime, the urban area of Le Havre corresponds roughly to the territory of the Agglomeration community of Le Havre which includes 17 communes and 250,000 people. It occupies the tip of the natural region of Pays de Caux where it is the largest city. Le Havre is sandwiched between the coast of the Channel from south-west to north-west and the estuary of the Seine to the south, Le Havre belongs to the MLG community Paris Basin which was formed in the Mesozoic period. The Paris Basin consists of sedimentary rocks, the commune of Le Havre consists of two areas separated by a natural cliff edge, one part in the lower part of the town to the south including the harbour, the city centre and the suburbs
Le Havre
–
Le Havre
Le Havre
–
UNESCO World Heritage Site
Le Havre
–
Map of Le Havre: to the south the Seine estuary; to the west the
English Channel.
Le Havre
–
Le Havre under snow
14.
La Roche-Guyon
–
La Roche-Guyon is a commune in the Val-dOise department in Île-de-France in northern France. The commune grew around the Château de La Roche-Guyon, upon which historically it depended for its existence, the communes population in 1999 was 550. Invisible on the surface, it is hollowed out of a high cliff, the able hand of the builder has established in the mountainside, digging into the rock, an ample dwelling provided with a few miserable openings. In the mid-13th century, a manor house was added below. He and his wife made great changes to the château-bas, opening windows in its structure and laying out the terrace to the east, partly cut into the mountains steep slope. The domain of La Roche-Guyon came to the La Rochefoucauld family in 1669, the Château retained its medieval aspect of a fortress, with its moat and towers and cramped, dark living apartments. The Château was largely extended in the 18th century, La Roche Guyon was the birthplace of François Alexandre Frédéric, duc de la Rochefoucauld-Liancourt. The castle was used as a setting for the segment of a famous Franco-Belgian graphic novel on time travel, Le Piège diabolique of the Blake. After D-Day, German Field Marshal Erwin Rommel defended Normandy against the Allies in World War II from a bunker located here, the castle also was Rommels headquarters. At the beginning of 1960 there was a design competition for the Project, in which the architects Albert Laprade. The castle is now open to the public
La Roche-Guyon
–
La Roche-Guyon, the castle and the keep
La Roche-Guyon
–
Château de La Roche-Guyon, with the donjon (keep) on the hill behind
La Roche-Guyon
–
La Roche-Guyon seen from the top of the
donjon
15.
Michel Monet
–
Michel Monet was the son of Claude Monet and Camille Doncieux Monet. Born on 17 March 1878,26 rue dÉdimbourg, in the 8th arrondissement of Paris and his mothers already failing health worsened after his birth, and she died on 5 September 1879, probably of uterine cancer. Michels elder brother, Jean, was born in 1867, since 1877, year of Ernest Hoschedés bankruptcy, Alice Hoschedé and her six children had been living with the Monets. The two families moved from Paris to Vétheuil in August 1878, and after Camilles death in 1879, Monet, Alice, in 1881, they moved to Poissy and, in April 1883, to Giverny. Alice managed the household and supervised the education of the Monet, Michel Monet au bonnet à pompom,1880. Le jardin de Monet à Vétheuil,1880, Michel Monet and Jean-Pierre Hoschedé, Jean-Pierre Hoschedé et Michel Monet au bord de lEpte,1890, National Gallery of Canada Michel Monet and his step-brother Jean-Pierre Hoschedé served in the French Army during World War I. Michel Monet married Gabrielle Bonaventure in 1927, when Claude Monet died in 1926, as his sole heir, Michel inherited the entire estate. Michel never spent time in Giverny, and Blanche Hoschedé Monet, his stepsister and sister-in-law, became the caretaker of the house, louis Lebret, who had been Monets head gardener, stayed on to help Blanche. After her death, the garden was neglected, Michel Monet, a car enthusiast, died in a car crash in nearby Vernon on 3 February 1966, a few weeks before his 88th birthday. He had bequeathed the estate to the Académie des beaux-arts, from 1977 onwards, Gérald Van der Kemp, then curator at the Château de Versailles, played a key role in the restoration of Claude Monets house and gardens, which had been left in a desolate state. In a bid to raise funds, he and his wife Florence appealed to American donors through the Versailles Foundation-Giverny Inc, in 1966, Michel Monet had left to the Musée Marmottan Monet his own collection of his fathers work, thus creating the worlds largest collection of Monet paintings. Michel Monet is buried in Claude Monets vault in the Giverny cemetery, in the vault are buried, Claude Monet and his second wife Alice, Alices first husband Ernest Hoschedé, Michels wife Gabrielle, his brother Jean, and his sister-in-law Blanche
Michel Monet
–
Claude Monet, Portrait of Michel in a Pompom Hat
Michel Monet
–
Claude Monet, Monet's garden at Vétheuil, 1880, Michel Monet and Jean-Pierre Hoschedé
Michel Monet
–
Works
16.
Human pelvis
–
The pelvis is either the lower part of the trunk of the human body between the abdomen and the thighs or the skeleton embedded in it. The pelvic region of the trunk includes the pelvis, the pelvic cavity, the pelvic floor, below the pelvic cavity. The pelvic skeleton is formed in the area of the back, by the sacrum, the two hip bones connect the spine with the lower limbs. They are attached to the sacrum posteriorly, connected to each other anteriorly, in mammals, the bony pelvis has a gap in the middle, significantly larger in females than in males. Their young pass through this gap when they are born, the pelvic region of the trunk is the lower part of the trunk, between the abdomen and the thighs. Each hip bone consists of 3 sections, ilium, ischium, during childhood, these sections are separate bones, joined by the triradiate cartilage. During puberty, they fuse together to form a single bone, the pelvic cavity is a body cavity that is bounded by the bones of the pelvis and which primarily contains reproductive organs and the rectum. A distinction is made between the lesser or true pelvis inferior to the line, and the greater or false pelvis above it. The pelvic outlet or inferior pelvic aperture is the region between the angle or pubic arch, the ischial tuberosities and the coccyx. To achieve both these tasks, the floor is composed of several overlapping sheets of muscles and connective tissues. The pelvic diaphragm is composed of the levator ani and the coccygeus muscle and these arise between the symphysis and the ischial spine and converge on the coccyx and the anococcygeal ligament which spans between the tip of the coccyx and the anal hiatus. This leaves a slit for the anal and urogenital openings, because of the width of the genital aperture, which is wider in females, a second closing mechanism is required. The urogenital diaphragm consists mainly of the deep transverse perineal which arises from the inferior ischial and pubic rami, the urogenital diaphragm is reinforced posteriorly by the superficial transverse perineal. The external anal and urethral sphincters close the anus and the urethra, the former is surrounded by the bulbospongiosus which narrows the vaginal introitus in females and surrounds the corpus spongiosum in males. Ischiocavernosus squeezes blood into the corpus cavernosum penis and clitoridis, modern humans are to a large extent characterized by bipedal locomotion and large brains. The female pelvis, or gynecoid pelvis, has evolved to its width for childbirth — a wider pelvis would make women unable to walk. In contrast, human male pelvises are not constrained by the need to give birth, the principal differences between male and female true and false pelvis include, The female pelvis is larger and broader than the male pelvis which is taller, narrower, and more compact. The female inlet is larger and oval in shape, while the male sacral promontory projects further, the sides of the male pelvis converge from the inlet to the outlet, whereas the sides of the female pelvis are wider apart
Human pelvis
–
The same human pelvis, front imaged by
x-ray (top),
magnetic resonance imaging (middle), and 3-dimensional
computed tomography (bottom).
Human pelvis
–
Male type pelvis
Human pelvis
–
The pelvic girdle of the dinosaur
Falcarius utahensis
Human pelvis
–
Diameters of
pelvic inlet.
17.
Women in the Garden
–
Women in the Garden is an oil painting begun in 1866 by French artist Claude Monet when he was 26. The setting is the garden of a property he was renting and his companion Camille posed for the figures. Monet finished the work indoors, and used magazine illustrations to render fashionable clothing, Monet at this time was early in his career, experimenting with method and subject matter. His earlier paintings were successful at Paris Salons, but Women in the Garden was rejected in 1867 on the grounds of subject, the Salon was also troubled by Monets heavy brushstrokes, a style which would, of course, become one of the hallmarks of Impressionism. A judge commented, Too many young people think of nothing but continuing in this abominable direction and it is high time to protect them and save art. The painting was purchased by fellow artist Frédéric Bazille to help support Monet at a time when he had no money. In this view, the figures appear poorly integrated into the scene, the paintings treatment of light and shadow is lauded, however, and in this respect the work may have shown Monet where his artistic path lay. Impressionism, an exhibition, an exhibition catalog from The Metropolitan Museum of Art
Women in the Garden
–
Women in the Garden
Women in the Garden
–
Works
18.
Springtime (painting)
–
Springtime is an 1872 painting by Claude Monet. It depicts his first wife, Camille Doncieux, seated serenely beneath a canopy of lilacs, the painting is presently held by the Walters Art Museum. In this painting entitled Springtime, Claude Monet uses his first wife, Camille Doncieux, Camille and Claude Monet were married in 1870, before this time she had been his mistress and served as a model for Monets figurative paintings of the 1860s and 1870s. It is said that Camille possessed unusual talent as a model and was used by Auguste Renoir. Late in the year 1871, Monet and his family settled in Argenteuil, the village was a popular resort for urban pleasure-seekers. Colleagues of Monet frequently joined him and the village associated with Impressionism. In the spring of 1872, Monet painted a number of canvases in his garden, often showing Camille and Alfred Sisleys companion, Springtime was on display at an exhibition organized by the Impressionists at Durand Ruels Paris Gallery, from March 30 to April 30,1876. Monet exhibited 18 works, for which 6 of these works Camille had posed, during this exhibition, Springtime was given the more generic title of Woman Reading. In this composition, Camille is seated serenely beneath a canopy of lilacs and her face and form are in close focus unlike later depictions which portray her as older and far less attractive. Sunlight peaks through the trees, creating patches of light on the ground, the painting represents an enchanting scene of domestic life. In 2012, Springtime was featured in Off the Wall, an exhibition on the streets of Baltimore. A reproduction of the painting – the original is part of the Walters Art Museum collection – will be on display at the Cylburn Arboretum. The National Gallery in London began the concept of bringing art out of doors in 2007, the Off the Wall reproductions of the Walters paintings are done on weather-resistant vinyl and include a description of the painting and a QR code for smart phones. From Ingres to Gauguin, French Nineteenth Century Paintings Owned in Maryland, themes and Variations in Painting and Sculpture. Monet and the Beginnings of Impressionism, the Currier Gallery of Art, Manchester, Manchester. Paintings by the Impressionists and Post Impressionists, virginia Museum of Fine Arts, Richmond. Inaugural Exhibition at the Fort Worth Art Center, Fort Worth Art Center, Fort Worth. The Turn of the Century, Exhibition of Masterpieces, 1880-1920, City Art Museum of Saint Louis, St. Louis, Minneapolis Institute of Arts, Minneapolis
Springtime (painting)
–
Springtime
Springtime (painting)
–
Works
19.
Woman with a Parasol - Madame Monet and Her Son
–
Woman with a Parasol - Madame Monet and Her Son, sometimes known as The Stroll is an oil-on-canvas painting by Claude Monet from 1875. Monets light and spontaneous brushwork create splashes of colour, mrs Monets veil is blown by the wind, as is her billowing white dress, the waving grass of the meadow is echoed by the green underside of her parasol. She is seen as if from below, with a strong upwards perspective, a boy, their seven-year-old son, is placed further away, concealed behind a rise in the ground, only visible from the waist up, creating a sense of depth. The work is a painting of an everyday family scene. The work was painted outdoors, en plein air, and quickly, probably in a period of a few hours. It measures 100 ×81 centimetres, his largest work in the 1870s, the painting was one of 18 works by Monet exhibited at the second Impressionist exhibition in April 1876, at the gallery of Paul Durand-Ruel. John Singer Sargent saw the painting at the exhibition in 1876 and was inspired to create a similar painting, Two Girls with Parasols at Fladbury. Monet sold the painting to Dr. Georges de Bellio in November 1876 and it was inherited by de Bellios daughter and her husband Ernest Donop de Monchy, acquired by Georges Menier in Paris, and sold in 1965 to Paul Mellon. He donated the painting to the National Gallery of Art in Washington DC in 1983. Woman with a Parasol - Madame Monet and Her Son, National Gallery of Art The Stroll, Camille Monet and Her Son Jean, artchive. com Monet Woman with a Parasol – Madame Monet and Her Son, C
Woman with a Parasol - Madame Monet and Her Son
–
Claude Monet, Woman with a Parasol - Madame Monet and Her Son, 1875,
National Gallery of Art, Washington DC
Woman with a Parasol - Madame Monet and Her Son
–
Monet, Woman with a Parasol, facing left, 1886
Woman with a Parasol - Madame Monet and Her Son
–
Monet, Woman with a Parasol, facing right, 1886
Woman with a Parasol - Madame Monet and Her Son
–
John Singer Sargent, Two Girls with Parasols at Fladbury, 1889
20.
International Standard Book Number
–
The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
International Standard Book Number
–
A 13-digit ISBN, 978-3-16-148410-0, as represented by an
EAN-13 bar code
21.
List of works by Claude Monet
–
The term Impressionism is derived from the title of his painting Impression, Sunrise. What made Monet different from the other Impressionist painters was his idea of creating Series paintings devoted to paintings of a single theme or subject. With the repetitious study of the subject at different times of day Monets paintings show the effects of sunlight, time and weather through color, Monets Series paintings are particularly notable and are among his best known works. The Haystacks and Water Lilies are the most famous, however, his other series paintings include Rouen Cathedrals, Houses of Parliament, Poplar Trees, among others
List of works by Claude Monet
–
Claude Monet, Self-portrait in Beret, 1886
List of works by Claude Monet
–
Works
22.
Garden at Sainte-Adresse
–
The Garden at Sainte-Adresse is a painting by the French impressionist painter, Claude Monet. The painting was acquired by the Metropolitan Museum of Art after a sale at Christies in December 1967. The painting was exhibited at the 4th Impressionist exhibition, Paris, April 10–May 11,1879, Monet spent the summer of 1867 at the resort town of Sainte-Adresse on the English Channel, near Le Havre. Although the scene projects affluent domesticity, it is by no means a family portrait, Monets relations with his father were tense that summer, owing to family disapproval of the young artists liaison with his companion, Camille Doncieux, his wife to be. Monet called this work in his correspondence the Chinese painting in which there are flags, his friend, the print by the Japanese artist Hokusai that may have inspired this picture, Turban-shell Hall of the Five-Hundred-Rakan Temple, remains today at Monets house-museum at Giverny. The elevated vantage point and relatively even sizes of the horizontal areas emphasize the two-dimensionality of the painting, the three horizontal zones of the composition seem to rise parallel to the picture plane instead of receding into space. The subtle tension resulting from the combination of illusionism and the two-dimensionality of the surface remained an important characteristic of Monets style, the painting is now in the New York Metropolitan Museum of Art. It was bought in 1967, with special contributions given or bequeathed by friends of the Museum, the Metropolitan Museum of Art - Guide Cited Impressionism, a centenary exhibition, an exhibition catalog from The Metropolitan Museum of Art, which contains material on this painting
Garden at Sainte-Adresse
–
Garden at Sainte-Adresse
Garden at Sainte-Adresse
–
Works
23.
Regatta at Sainte-Adresse (Monet)
–
The Regatta at Sainte-Adresse is an oil-on-canvas painting by the impressionist painter Claude Monet. It was painted in 1867 and is owned by the Metropolitan Museum of Art and this painting and The Beach in Sainte-Adresse were probably conceived as a pair. They are identical in size, and their viewing point differs by only a few yards, Sainte-Adresse, the well-to-do suburb of Le Havre, was the home of Monets father. Destitute, Monet spent the summer of 1867 with his father and aunt Sophie Lecadre at the cost of abandoning his companion, Camille Doncieux, Monet attended the birth in Paris and returned to the coast a few days later. The painting is signed at the lower left. Henri Hecht, Paris. sale, Hôtel Drouot, Paris, April 5,1884,25, as Sainte-Adresse, P. A. B. Widener, Ashbourne, near Philadelphia, William Church Osborn, New York Galerie de la société des amis des arts de Bordeaux, salon des amis des arts de Bordeaux,1868, no.449. Society of French Artists, Eighth Exhibition, Spring 1874, no.142, Loan Exhibition of Impressionist and Post-Impressionist Paintings, May 3–September 15,1921, no.76. Loan Exhibition of French Masterpieces of the Late XIX Century, March 20–April 10,1928, Exhibition of Masterpieces by Claude Monet Commemorating the Hundred and Thirtieth Anniversary of the House of Durand-Ruel 1803-1933, March 20–April 15,1933, no.12. Golden Gate International Exposition,1940, no.284, a Loan Exhibition of Paintings by Claude Monet for the Benefit of the Children of Giverny, April 11–May 12,1945, no.4. The Painters Light, October 5–November 10,1971, no.29, hommage à Claude Monet, February 8–May 5,1980, no.16. Origins of Impressionism, September 27,1994 – January 8,1995, Claude Monet, 1840–1926, July 22–November 26,1995, no.13. Claude Monet, November 26,2001 – February 10,2002, Claude Monet, March 1–May 15,2002, no.4. Fine Arts Museums of San Francisco, Monet in Normandy, June 17–September 17,2006, no.4. Monet in Normandy, February 18–May 20,2007, no.4, impressionists by the Sea, July 7–September 30,2007, no.33. Impressionists by the Sea, February 9–May 11,2008, no.33
Regatta at Sainte-Adresse (Monet)
–
Regatta at Sainte-Adresse
Regatta at Sainte-Adresse (Monet)
–
Works
24.
The Magpie (Monet)
–
The Magpie is an oil-on-canvas landscape painting by the French Impressionist Claude Monet, created during the winter of 1868–1869 near the commune of Étretat in Normandy. Between 1867 and 1893, Monet and fellow Impressionists Alfred Sisley, similar winter paintings were produced by Pierre-Auguste Renoir, Gustave Caillebotte, and Paul Gauguin. Art historians believe that a series of severe winters in France contributed to an increase in the number of winter landscapes produced by Impressionists, the Magpie is one of approximately 140 snowscapes produced by Monet. The Magpie was completed in 1869 and is Monets largest winter painting and it was followed by The Red Cape, the only known winter painting featuring Camille Doncieux. The canvas of The Magpie depicts a black magpie perched on a gate formed in a wattle fence. The painting features one of the first examples of Monets use of colored shadows, Monet and the Impressionists used colored shadows to represent the actual, changing conditions of light and shadow as seen in nature, challenging the academic convention of painting shadows black. This subjective theory of perception was introduced to the art world through the works of Johann Wolfgang von Goethe. At the time, Monets innovative use of light and color led to its rejection by the Paris Salon of 1869, today, art historians classify The Magpie as one of Monets best snowscape paintings. The painting was held until the Musée dOrsay acquired it in 1984. In the late 1850s, French landscape painter Eugène Boudin introduced Monet to the art of painting en plein air—in the open air, the invention of the collapsible metal paint tube and portable easel brought painting, formerly confined to studios, into the outdoors. Boudin and Monet spent the summer of 1858 painting nature together, like Boudin, Monet came to prefer painting outdoors rather than in a studio, the convention of the time. If I have become a painter, Monet said, I owe it to Boudin, the landscape paintings of Dutch painter Johan Barthold Jongkind influenced both Boudin and Monet and contributed to the development of early Impressionism. After meeting Jongkind in Sainte-Adresse in 1862, Monet began to cultivate an interest in Jongkinds perspective on the conditions of the landscape. From Jongkind, Monet learned to substitute optical color for local color, complementing the teaching I received from Boudin, Jongkind was from that moment my true master, Monet later reminisced. It was he who completed the education of my eye, Gustave Courbet had been painting effets de neige, snow effects, from as early as 1856, in a landscape style preferred by Japanese, Dutch, and Flemish artists. Influenced by Courbet, Monet painted his first snowscape, A Cart on the Snowy Road at Honfleur, a journalist observed, We have only seen him once. It was in the winter, during days of snow. It was cold enough to split stones and we noticed a foot-warmer, then an easel, then a man, swathed in three coats, his hands in gloves, his face half-frozen
The Magpie (Monet)
–
The Magpie
The Magpie (Monet)
–
A Cart on the Snowy Road at Honfleur (1865 or 1867), Monet's first snowscape.
The Magpie (Monet)
–
The Luncheon (1868). Camille and son Jean in Étretat.
The Magpie (Monet)
–
Works
25.
Impression, Sunrise
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Impression, Sunrise is a painting by Claude Monet. Shown at what would later be known as the Exhibition of the Impressionists in April 1874, Impression, Sunrise depicts the port of Le Havre, Monets hometown, and is his most famous painting of the harbor. Monet visited his hometown of Le Havre in the Northwest of France in 1872 and proceeded to create a series of works depicting the port of Le Havre. The six painted canvases depict the port during dawn, day, dusk, Impression, Sunrise became the most famous in the series after being debuted in April 1874 in Paris at an exhibition by the group Painters, Sculptors, Engravers etc. Inc. The painting was stolen from the Musée Marmottan Monet in 1985 by Philippe Jamin and Youssef Khimoun, since 1991 it has been back on display in the museum. While the title of the painting seemed to be chosen in haste for the catalogue and it had been used for some time to describe the effect of paintings from the Barbizon school. Both associated with the school, Daubigny and Manet had been known to use the term to describe their own works. Before the 1860s and the debut of Impression, Sunrise, the term impressionism was originally used to describe the effect of a scene on a painter. By the 1860s, impression was used by transference to describe a painting which relayed such an effect, in turn, impression came to describe the movement as a whole. Impression, Sunrise depicts the port of Le Havre at sunrise, in the middle ground, more fishing boats are included, while in the background on the left side of the painting are clipper ships with tall masts. Behind them are other misty shapes that are not trees but smoke stacks of packboats and steamships, while on the right in the distance are other masts and chimneys silhouetted against the sky. In order to show features of industry, Monet eliminated existing houses on the left side of the jetty. Following the defeat of France in the Franco-Prussian War of 1870-71, for while it is a poem of light and atmosphere, the painting can also be seen as an ode to the power and beauty of a revitalized France. The representation of Le Havre, hometown of Monet and a center of industry and commerce, celebrates the renewed strength, art demonstrating France’s revitalization, Monet’s depiction of Le Havre’s sunrise mirrors the renewal of France. The hazy scene of Impression, Sunrise strayed from traditional painting and classic. Loose brush strokes meant to suggest the rather than to mimetically represent it demonstrate the emergent Impressionist movement. In the wake of an emergent industrialization in France, this style expressed innovative individuality, the group of studies made from Monet’s hotel room were made from canvas with a base layer of gray in different tones. The layered effect provides depth in spite of imprecise details, creating a rich and tangible environment that seems like Le Havre, though not an exact likeness
Impression, Sunrise
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Impression, soleil levant
Impression, Sunrise
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The home of photographer
Nadar, where the 1874 exhibition took place
Impression, Sunrise
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Modern view of the port of Le Havre
Impression, Sunrise
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Catalogue for the 1874 Impressionist Exhibition
26.
Boulevard des Capucines (Monet)
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Boulevard des Capucines is an oil on canvas street scene painting of Boulevard des Capucines by French Impressionist artist Claude Monet created in 1873. From the late 1860s, Monet and other like-minded artists, met rejection from the conservative Académie des Beaux-Arts which held its annual exhibition at the Salon de Paris. During the latter part of 1873, Monet, Renoir, Pissarro, at their first exhibition, held in April 1874, Monet exhibited the work that was to give the group its lasting name, Impression, Sunrise. Among the works Monet included in the first Impressionist exhibition was The Luncheon,1868, the painting was rejected by the Paris Salon of 1870. Also in this exhibition was a painting titled Boulevard des Capucines, impressionism, a centenary exhibition, an exhibition catalog from The Metropolitan Museum of Art, which contains material on this painting
Boulevard des Capucines (Monet)
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Boulevard des Capucines
Boulevard des Capucines (Monet)
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Works
27.
Argenteuil Basin with a Single Sailboat
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Argenteuil Basin with a Single Sailboat is an oil on canvas autumn scene of the basin at Argenteuil, painted by French Impressionist artist Claude Monet in 1874. The piece was created during Monets residence at Argenteuil, a town on the banks of the Seine, here Monet purchased a boat to be used as a floating studio and painted many scenes of the surrounding area. The painting was purchased by Irish playwright and activist Edward Martyn in 1899, on the advice of his cousin and it was bequeathed to the National Gallery of Ireland in 1924. At around 11am on 29 June 2012 a visitor to the gallery, Andrew Shannon, punched the painting causing huge damage, after 18 months of restoration work, on 1 July 2014, the painting was re-hung in the gallery, behind protective glass. The restoration saw 7% of the area being lost, in a process that involved sewing microscopic threads back together. Shannon was jailed for 5 years for the attack, National Gallery of Ireland information, National Gallery of Ireland restoration process
Argenteuil Basin with a Single Sailboat
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Argenteuil Basin with a Single Sailboat
Argenteuil Basin with a Single Sailboat
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Works
28.
Snow at Argenteuil
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Snow at Argenteuil is an oil-on-canvas landscape painting from the Impressionist artist Claude Monet. It is the largest of no fewer than eighteen works Monet painted of his home commune of Argenteuil while it was under a blanket of snow during the winter of 1874–1875 and this painting—number 352 in Wildenstein’s catalogue of the works of Monet—is the largest of the eighteen. The attention to detail evident in the paintings is less evident in this larger picture. Instead, Monet has rendered large areas of the canvas in closely like tones and colours of blue, paint at the depicted road surface is thicker than elsewhere in the painting, and impasto is suggestive of the feel of disturbed snow. Most of Monet’s Snow at Argenteuil pictures from the winter of 1874–1875 were painted from locations close to the house on the boulevard Saint-Denis into which Monet, in December 1879 the painting was acquired from Monet by Théodore Duret. Recalling a conversation with the artist Édouard Manet, Duret years later reported that, I had in my possession just such a piece from Monet. After seeing it, he said “It is perfect, acquavella Galleries of New York acquired the painting in the early 1970s, and then it was purchased by Simon Sainsbury in or around 1973. It was bequeathed by him to the National Gallery, London, in 2006 and it has remained there since
Snow at Argenteuil
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Snow at Argenteuil
Snow at Argenteuil
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Works
29.
Beach in Pourville
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Beach in Pourville is a painting by French artist Claude Monet. It was painted in 1882, one of a series of works made by Monet that year in the small seaside resort of Pourville-sur-Mer. Monet is considered one of the most important members of the group of painters identified as the Impressionists, the painting was bought by the National Museum, Poznań, Poland in 1906 and exhibited in the display of their collection. The painting was stolen from the Poznań National Museum in September 2000 and it was cut out of its frame and replaced with a copy, which had been painted on cardboard. At the time, the painting was valued at more than $1 million, the theft was discovered on 19 September 2000, and police searched for a man who had been seen making sketches of paintings in the museum two days earlier. The painting was recovered on 12 January 2010, police also arrested a 41-year-old man in the southern Polish city of Olkusz, whom they believe to be the painter of the copy used in the robbery. The suspect was traced through fingerprints and other evidence left at the site of the theft
Beach in Pourville
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Beach in Pourville
Beach in Pourville
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Works
30.
The Cliff Walk at Pourville
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The Cliff Walk at Pourville is an 1882 painting by the French Impressionist painter Claude Monet. It currently resides at the Art Institute of Chicago and it is a landscape painting featuring two women atop a cliff above the sea. The canvas was inspired by a stay at Pourville in 1882. They returned in June of that year, the various elements of the painting are unified through brushwork, short, crisp strokes were used to paint the grasses of the cliff, the womens drapery and the distant sea. An X-ray of the painting indicates that the artist originally painted a figure into the grouping. Describing similar works by the artist, art historian John House wrote, “His cliff tops rarely show a single sweep of terrain. ”The sense of immediacy is heightened by the juxtapositions of the cliff and sea, the contrast between ground and openness
The Cliff Walk at Pourville
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The Cliff Walk at Pourville
The Cliff Walk at Pourville
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Works
31.
Boating on the River Epte
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Boating on the River Epte is an 1890 oil painting by French impressionist artist Claude Monet. It is currently housed at the São Paulo Museum of Art, between 1887 and 1890 Monet concerned himself with portraying scenes from the River Epte, which bathed this property at Giverny. This series began with La Barque Rose and also worthy of mention are canvases La Barque à Giverny, although it belongs to a series, the masp work is in this particular a unique case. Monet here announces materiality, and it is necessary to remember that this new dimension of water will only be obtained again over thirty years later in his paintings of the 1918-1924 period. In addition, a source of the São Paulo Museum of Art composition, as has been detected, is the Harunobu engraving
Boating on the River Epte
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Boating on the River Epte
Boating on the River Epte
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Works
32.
San Giorgio Maggiore at Dusk
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Saint-Georges majeur au crépuscule refers to an Impressionist painting by Claude Monet, which exists in more than one version. Monet painted this subject as part of a series of views of the monastery-island of San Giorgio Maggiore and these were begun in 1908 when the 68-year-old artist made his only visit to Venice. One version of San Giorgio Maggiore at Dusk was acquired in Paris by the Welsh art collector Gwendoline Davies and she bequeathed it to the Art Gallery in Cardiff, Wales. The painting is normally on display there, there is a version in the Bridgestone Museum of Art. San Giorgio Maggiore al Crepuscolo is approximately two-by-three feet and painted in oil on canvas and it depicts mysterious buildings that seem to magically appear from the surrounding landscape, they almost seem to float in the background. The forms are gently inserted, though not enough to disguise their identity, the painting focuses on the Church of San Giorgio Maggiore with its bell tower rising to the top of the painting. To the right are the faintly visible domes of Santa Maria della Salute, Monet painted San Giorgio Maggiore in six various lighting conditions. With this technique, the focused on the ‘nature of experience. ’ He was particularly impressed by the Venetian sunsets, “these splendid sunsets which are unique in the world. ”He had previously been inspired by other sunsets, such as those of Normandy. Monet and his wife Alice stayed at the Palazzo Barbaro for a couple of weeks, and then moved to the Hotel Britannia, Monet, the Britannia had a view, if such a thing were possible, even more beautiful than that of Palazzo Barbaro. Monet painted looking out from this hotel, but not, it seems, Monet was reportedly reluctant to paint from the waterfront out of fear of conforming to other artists who were drawn to Venice, such as Renoir or Manet. San Giorgio Maggiore was a subject for painters, including the proto-Impressionist Turner. Monet felt Venice was a city too beautiful to be painted, however, he had already retreated from his earlier practice of painting from life, in front of the subject. He worked on the Venetian scenes at home and the death of his wife Alice in 1911 seems to have been a factor in their completion, in 1912 he held a successful exhibition Claude Monet Venise at the gallery Bernheim-Jeune in Paris. The painting became familiar in 1999 after its appearance in John McTiernan’s heist film The Thomas Crown Affair, in the film the picture is taken from the Metropolitan Museum of Art. In fact, the Metropolitan does not own the painting, although they have another of Monets Venetian scenes The Doges Palace Seen from San Giorgio Maggiore, a Venetian painting by Monet was seized in July of 2016 by Swiss officials on behalf of U. S. authorities. It was described as being a painting of San Giorgio Maggiore, the owner, Jho Low, embezzled funds from 1Malaysia Development BHD. He had purchased the painting for $35 million, other paintings from Monet´s Venetian series are to be seen in, Bridgestone Museum of Art Indianapolis Museum of Art Brownjohn, John and Stephan Koja and Galerie Osterreichische, Claude Monet. Koja, Stephan and Katja Miksovsky, Claude Monet, the Magician of Colour, national Museum Wales, San Giorgio Maggiore by Twilight Breaking Dawn
San Giorgio Maggiore at Dusk
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San Giorgio Maggiore at Dusk
San Giorgio Maggiore at Dusk
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This photo separates the campanile and dome of San Giorgio Maggiore, as it is taken from nearer the Grand Canal than the place(s) where Monet's dusk paintings were observed. However, it offers a similar view-point to one of Monet's daytime San Giorgio paintings.
San Giorgio Maggiore at Dusk
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Another version is owned by the Bridgestone Museum of Art in Tokyo.
San Giorgio Maggiore at Dusk
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Works
33.
Le Grand Canal
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Le Grand Canal is an oil on canvas painting by French Impressionist painter Claude Monet. This painting is part of a series of paintings Monet undertook during 1908, one of the paintings from this series of Venetian waterscapes by Claude Monet was sold for more than $35 million at 2015 Sothebys auction. Sothebys called this one of the most celebrated Venice paintings. Previously it has been in the collection of the New Orleans sugar magnate, Hunt Henderson. Monet was 68 years old this year, hunter was a friend of Monets wife, Alice, who invited the couple to come to visit her in Venice, where she rented this palazzo. Initially Monet was not keen but he did decide to travel, Monet and his wife arrived in Italy on October 1. While there Monet completed a series of artwork on the Canale Grande painting the same motif at different times of the day. Monet painted 37 works of Venice during his stay in Italy, from October to December, including this painting and five more depicting the same theme. One is hosted at the Fine Arts Museums of San Francisco and this painting depicts the view, from the Palazzo Barbaro. Monet’s series introduced an approach of a theme that was painted by many notable artist before him. The series are an exploration of the light upon the ancient city. The painter captured the sensations according to how the appearance of the changed as the light shifted on the water. The painter used the mooring-poles to counterbalance the buildings of the background is the Baroque church of Santa Maria della Salute and the tower of the Doge’s Palace
Le Grand Canal
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Le Grand Canal
34.
Water Lilies (1919)
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The Water Lilies is a painting by impressionist Claude Monet painted during his series called Water Lilies. The painting depicts a scene in a French pond showing light reflecting off the water with Water Lilies on the surface and it was painted in 1919 and as of 2012 is on display in New Yorks Metropolitan Museum of Art. The meaning of the painting is to nature and give great beauty to whoever views it. It is one of Monets larger paintings, meant to show off the beauty of the scene it captures, the sunset color reflecting off the water is one of the many aspects of his choice to make the meaning of this painting beauty and inspiration. The inspiration of nature that is shown in this painting is the water lilies, in 1919, Claude Monet was an elderly man who had already had been painting for almost 70 years. Monets Water Lilies series came during a time when he had decided to only paint water lilies, in 1919 while in near a pond in southern France he decided to paint a new painting for his water lilies series. He liked to paint when the sun or any type of light reflected off the water because it would create a kind of shiny and glittery scene. This painting depicts a scene around sunset where the light is reflecting off the water has a red color while the water lilies give it a nice accent. It is an oil on canvas painting which Monet liked very much that gives the painting a lot of detail
Water Lilies (1919)
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Water Lilies
Water Lilies (1919)
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Works
35.
Theodore Earl Butler
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Theodore Earl Butler, was an American impressionist painter. He was born in Columbus, Ohio, and moved to Paris to study art and he befriended Claude Monet in Giverny, and married his stepdaughter, Suzanne Hoschedé. After her death he married her sister, Marthe Hoschedé, Butler was a founding member of the Society of Independent Artists. Butlers chosen subjects were scenes of family and friends and the French landscape. Although his Impressionistic approach to painting sometimes reflected the influence of his father-in-law, Butler studied at Marietta College in Ohio and graduated in 1882. He studied at the Art Students League with James Carroll Beckwith, Kenyon Cox and J. Alden Weir, one of Butler’s first paintings is a copy of Menippus by Diego Velázquez Standing Bearded Man,1885. Butler then moved to study in Paris, in Paris, Butler enrolled at La Grande-Chaumière, Académie Colarossi and at Académie Julian. Butler studied under Emile Carolus Duran, Carolus opened an art studio in 1873 on Boulevard Montparnasse, called the “81”. Carolus, who was known to have given free private lessons to some painters. Monet had moved to Giverny on April 29,1883, Butler stayed for some time in the same building as Carolus, and Butler won an honorable mention in 1888 at the Paris Salon for a painting entitled “La Veuve”. Butler signed the register under number 11 at Hotel Baudy in 1888 along with Theodore Wendel, Butler stayed again at Hotel Baudy from October 1891 until July 21,1892. On July 3 Butler and Robinson had dinner at Monet’s house, angelina and Lucien Baudy opened Hotel Baudy in June 1887. The Hotel became the hub for many American expatriates, at Hotel Baudy, artists could buy canvases from Lefevre Foinet and American food celebrating Thanksgiving was served. The village began to attract a great deal of attention, according to Terra Museum historians Katherine M. Bourguignon and Vanessa Lecomte, over 350 painters from eighteen countries painted in Giverny. An exhibition of artists including Butler, Meteyard, Fox, Dice, Stasburg. After becoming close friends with Claude Monet, Butler married Monets stepdaughter, Suzanne is known as The woman with a Parasol and she was Claude Monet’s favorite model. The event of their marriage is described by Theodore Robinson in his diaries as a great day - The marriage of Butler, everybody nearly at the church - the peasants - many almost unrecognizable. Picard very fine, the party in full dress – ceremony first at the mairie - then at the church
Theodore Earl Butler
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Theodore Earl Butler, 1909
Theodore Earl Butler
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Theodore Robinson, The Wedding March, 1892.The wedding procession of
Suzanne Hoschedé and Theodore Earl Butler.
Theodore Earl Butler
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Theodore Earl Butler, Entrance to the Garden Gate, 1898
Theodore Earl Butler
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Theodore Earl Butler, Flags (1918), depicts a display of Allied forces' flags on Fifth Avenue in New York City.
Birmingham Museum of Art. Birmingham, Alabama, USA
36.
Paul Durand-Ruel
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Paul Durand-Ruel was a French art dealer who is associated with the Impressionists and the Barbizon School. He was one of the first modern art dealers who provided support to his painters with stipends, born Paul-Marie-Joseph Durand-Ruel in Paris, his father was a picture dealer. In 1865 young Paul took over the business, which represented artists such as Corot. In 1867 he moved his gallery from 1 rue de la Paix, Paris, to 16 rue Laffitte, during the 1860s and early 1870s Durand-Ruel was an important advocate and successful art dealer of the Barbizon School. However Durand-Ruel soon established a relationship with a group of painters who would become known as the Impressionists. In December 1870 he opened the first of ten Annual Exhibitions of the Society of French Artists at his new London gallery at 168 New Bond Street, under the management of Charles Deschamps. He recognized the artistic and fashionable potential of Impressionism as early as 1870, eventually Durand-Ruel had exhibitions of Impressionism and other works, at his Paris and London galleries. During the final three decades of the 19th century Durand-Ruel became the best known art dealer and most important commercial advocate of French Impressionism in the world and he succeeded in establishing the market for Impressionism in the United States as well as in Europe. Edgar Degas, Édouard Manet, Claude Monet, Berthe Morisot, Camille Pissarro, Pierre-Auguste Renoir and he represented many lesser known artists including Maxime Dethomas or Hugues Merle amongst others. Regarding the Americans’ open-mindedness towards impressionism, Durand-Ruel once said, The American public does not laugh, “Without America, ” he said, “I would have been lost, ruined, after having bought so many Monets and Renoirs. The two exhibitions there in 1886 saved me, but thanks to that public, Monet and Renoir were enabled to live and after that the French public followed suit. ”Durand-Ruel had an intense rivalry with Parisian art dealer Georges Petit. Durand-Ruel was the subject of a temporary exhibition titled Inventing Impressionism held at the National Gallery in London in 2015. Two exhibition catalogs from the Durand-Ruel Galleries, National Gallery exhibition devoted to Durand-Ruel 4 March –31 May 2015
Paul Durand-Ruel
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Pierre-Auguste Renoir, Paul Durand-Ruel, 1910
37.
Fondation Monet in Giverny
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The Fondation Claude Monet is a nonprofit organisation that runs and preserves the house and gardens of Claude Monet in Giverny, France. With a total of 530,000 visitors in 2010, it is the second most visited tourist site in Normandy after the Mont-Saint-Michel, the House and Garden have been recognised as a Maison des Illustres and Jardin remarquable rewarding their outstanding qualities. The estate was classified as a Monument historique in 1976, Claude Monet lived and painted in Giverny from 1883 to his death in 1926, and directed the renovation of the house, retaining its pink-painted walls. Monet had the nearby river Epte partially diverted for the gardens, when Monet died in 1926, the entire estate was passed on to his son Michel. After Blanche died in 1947, the garden was left untended, Michel Monet died heirless in a car crash in 1966. He had bequeathed the estate to the Académie des beaux-arts, from 1977 onwards, Gérald Van der Kemp, then curator at the Château de Versailles, played a key role in the restoration of the neglected house and gardens, which had been left in a desolate state. In a bid to raise funds, he and his wife Florence appealed to American donors through the Versailles Foundation-Giverny Inc and they, thereafter, dedicated themselves to its restoration. The Fondation Claude Monet was created in 1980 as the estate was declared public and it soon became very successful and now welcomes both French and international visitors from April to November. When Gérald Van der Kemp died in 2001, Florence Van der Kemp became the curator of the Fondation Monet, hugues Gall was appointed Director of the Fondation Claude Monet by the Académie des beaux-arts in March 2008. Visitors have access to, The ground floor, the salon, the épicerie, the living room/studio, the dining room. The first floor, the rooms, including Monets which was renovated in March 2013 as well as Alice Hoschedés bedroom. Also visible is the room of Blanche Hoschedé, which was recreated in 2013 based on archives and he spent years transforming the garden into a living en plein air painting, planting thousands of flowers in straight-lined patterns. In 1893 Monet acquired a vacant piece of land across the road from the Clos-Normand which he transformed into a water garden by diverting water from the stream Ru. That garden became famous during his lifetime with his series of paintings of its water lilies. The water garden is marked by Monets fascination for Japan, with its green Japanese bridge, the now famous water lilies were meticulously tended by a gardener employed for that sole purpose. The majority of Monets paintings are kept in the Musée Marmottan Monet, however, Monets house is home to a collection of more than 200 Japanese ukiyo-e prints from the 18th and 19th centuries. Among the most notable pieces are works by Kitagawa Utamaro, Katsushika Hokusai, claire Joyes, Claude Monet à Giverny, la visite et la mémoire des lieux, Éditions Claude Monet/Gourcuff/Gradenigo,2010, ISBN 978-2-35340-076-8 Hélène Rochette, Maisons décrivains et dartistes. Paris et ses alentours, pp. 224–229, Parigramme, Paris,2004, ISBN 2-84096-227-6 Fondation Monet website
Fondation Monet in Giverny
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Claude Monet's house from the garden
38.
Virtual International Authority File
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The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
Virtual International Authority File
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Screenshot 2012
39.
Union List of Artist Names
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The Union List of Artist Names is an online database using a controlled vocabulary currently containing around 293,000 names and other information about artists. Names in ULAN may include names, pseudonyms, variant spellings, names in multiple languages. Among these names, one is flagged as the preferred name, the focus of each ULAN record is an artist. Currently there are around 120,000 artists in the ULAN, in the database, each artist record is identified by a unique numeric ID. Linked to each artist record are names, related artists, sources for the data, the temporal coverage of the ULAN ranges from Antiquity to the present and the scope is global. The ULAN includes proper names and associated information about artists, artists may be either individuals or groups of individuals working together. Artists in the ULAN generally represent creators involved in the conception or production of visual arts, repositories and some donors are included as well. Work on the ULAN began in 1984, when the Getty decided to merge, in 1987 the Getty created a department dedicated to compiling and distributing terminology. The ULAN grows and changes via contributions from the user community, although originally intended only for use by Getty projects, the broader art information community outside the Getty expressed a need to use ULAN for cataloging and retrieval. Its scope was broadened to include corporate bodies such as firms and repositories of art. The ULAN was founded under the management of Eleanor Fink, the ULAN has been constructed over the years by numerous members of the user community and an army of dedicated editors, under the supervision of several managers. The ULAN was published in 1994 in hardcopy and machine-readable files, given the growing size and frequency of changes and additions to the ULAN, by 1997 it had become evident that hard-copy publication was impractical. It is now published in automated formats only, in both a searchable online Web interface and in data files available for licensing, final editorial control of the ULAN is maintained by the Getty Vocabulary Program, using well-established editorial rules. The current managers of the ULAN are Patricia Harpring, Managing Editor, entities in the Person facet typically have no children. Entities in the Corporate Body facet may branch into trees, there may be multiple broader contexts, making the ULAN structure polyhierarchical. In addition to the relationships, the ULAN also has equivalent. Contributors to the Getty Vocabularies and implementers of the licensed vocabulary data may consult these guidelines as well
Union List of Artist Names
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Contents
Media related to Camille Doncieux at Wikimedia Commons
