1.
Venice
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Venice is a city in northeastern Italy and the capital of the Veneto region. It is situated across a group of 118 small islands that are separated by canals and these are located in the shallow Venetian Lagoon, an enclosed bay that lies between the mouths of the Po and the Piave Rivers. Parts of Venice are renowned for the beauty of their settings, their architecture, the lagoon and a part of the city are listed as a World Heritage Site. In 2014,264,579 people resided in Comune di Venezia, together with Padua and Treviso, the city is included in the Padua-Treviso-Venice Metropolitan Area, with a total population of 2.6 million. PATREVE is a metropolitan area without any degree of autonomy. The name is derived from the ancient Veneti people who inhabited the region by the 10th century BC, the city was historically the capital of the Republic of Venice. Venice has been known as the La Dominante, Serenissima, Queen of the Adriatic, City of Water, City of Masks, City of Bridges, The Floating City, and City of Canals. The City State of Venice is considered to have been the first real international financial center which gradually emerged from the 9th century to its peak in the 14th century and this made Venice a wealthy city throughout most of its history. It is also known for its several important artistic movements, especially the Renaissance period, Venice has played an important role in the history of symphonic and operatic music, and it is the birthplace of Antonio Vivaldi. Venice has been ranked the most beautiful city in the world as of 2016, the name Venetia, however, derives from the Roman name for the people known as the Veneti, and called by the Greeks Eneti. The meaning of the word is uncertain, although there are other Indo-European tribes with similar-sounding names, such as the Celtic Veneti, Baltic Veneti, and the Slavic Wends. Linguists suggest that the name is based on an Indo-European root *wen, so that *wenetoi would mean beloved, lovable, a connection with the Latin word venetus, meaning the color sea-blue, is also possible. The alternative obsolete form is Vinegia, some late Roman sources reveal the existence of fishermen on the islands in the original marshy lagoons. They were referred to as incolae lacunae, the traditional founding is identified with the dedication of the first church, that of San Giacomo on the islet of Rialto — said to have taken place at the stroke of noon on 25 March 421. Beginning as early as AD166 to 168, the Quadi and Marcomanni destroyed the center in the area. The Roman defences were again overthrown in the early 5th century by the Visigoths and, some 50 years later, New ports were built, including those at Malamocco and Torcello in the Venetian lagoon. The tribuni maiores, the earliest central standing governing committee of the islands in the Lagoon, the traditional first doge of Venice, Paolo Lucio Anafesto, was actually Exarch Paul, and his successor, Marcello Tegalliano, was Pauls magister militum. In 726 the soldiers and citizens of the Exarchate rose in a rebellion over the controversy at the urging of Pope Gregory II
2.
Republic of Venice
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It was based in the lagoon communities of the historically prosperous city of Venice. It was a leading European economic and trading power during the Middle Ages, the Venetian city state was founded as a safe haven for people escaping persecution in mainland Europe after the fall of the Roman Empire. In its early years, it prospered on the salt trade, in subsequent centuries, the city state established a thalassocracy. It dominated trade on the Mediterranean Sea, including commerce between Asia, Europe and North Africa, the Venetian navy was used in the Crusades. Venice achieved territorial conquests along the Adriatic Sea, the city became home to an extremely wealthy merchant class, who patronized renowned art and architecture along the citys lagoons. Venetian merchants were influential financiers in Europe, the city was also the birthplace of great European explorers, including Marco Polo, as well as the classical music composer Vivaldi. The republic was ruled by the Doge, who was elected by members of the Great Council of Venice, the ruling class was an oligarchy of merchants and aristocrats. Venice and other Italian maritime republics played a key role in fostering capitalism, Venetian citizens generally supported the system of governance. The city-state enforced strict laws and employed ruthless tactics in its prisons, the opening of new trade routes to the Americas and the East Indies via the Atlantic Ocean marked the beginning of Venices decline as a maritime republic. The city state suffered defeats from the navy of the Ottoman Empire, in 1797, the country was colonized by Austria and France, following an invasion by Napoleon Bonaparte. Venice became a part of a unified Italy in the 19th century and it was formally known as the Most Serene Republic of Venice and is often referred to as La Serenissima, in reference to its title as one of the Most Serene Republics. He was the first historical Doge of Venice, whichever the case, the first doges had their power base in Heraclea. Ursuss successor, Deusdedit, moved his seat from Heraclea to Malamocco in the 740s and he was the son of Ursus and represented the attempt of his father to establish a dynasty. Such attempts were more commonplace among the doges of the first few centuries of Venetian history. They desired to remain well-connected to the Empire, another faction, republican in nature, believed in continuing along a course towards practical independence. The other main faction was pro-Frankish, supported mostly by clergy, they looked towards the new Carolingian king of the Franks, Pepin the Short, as the best provider of defence against the Lombards. A minor, pro-Lombard faction was opposed to close ties with any of these further-off powers, the successors of Obelerio inherited a united Venice. By the Pax Nicephori, the two emperors had recognised that Venice belonged to the Byzantine sphere of influence, many centuries later, the Venetians claimed that the treaty had recognised Venetian de facto independence, but the truth of this claim is doubted by modern scholars
3.
Italy
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Italy, officially the Italian Republic, is a unitary parliamentary republic in Europe. Located in the heart of the Mediterranean Sea, Italy shares open land borders with France, Switzerland, Austria, Slovenia, San Marino, Italy covers an area of 301,338 km2 and has a largely temperate seasonal climate and Mediterranean climate. Due to its shape, it is referred to in Italy as lo Stivale. With 61 million inhabitants, it is the fourth most populous EU member state, the Italic tribe known as the Latins formed the Roman Kingdom, which eventually became a republic that conquered and assimilated other nearby civilisations. The legacy of the Roman Empire is widespread and can be observed in the distribution of civilian law, republican governments, Christianity. The Renaissance began in Italy and spread to the rest of Europe, bringing a renewed interest in humanism, science, exploration, Italian culture flourished at this time, producing famous scholars, artists and polymaths such as Leonardo da Vinci, Galileo, Michelangelo and Machiavelli. The weakened sovereigns soon fell victim to conquest by European powers such as France, Spain and Austria. Despite being one of the victors in World War I, Italy entered a period of economic crisis and social turmoil. The subsequent participation in World War II on the Axis side ended in defeat, economic destruction. Today, Italy has the third largest economy in the Eurozone and it has a very high level of human development and is ranked sixth in the world for life expectancy. The country plays a prominent role in regional and global economic, military, cultural and diplomatic affairs, as a reflection of its cultural wealth, Italy is home to 51 World Heritage Sites, the most in the world, and is the fifth most visited country. The assumptions on the etymology of the name Italia are very numerous, according to one of the more common explanations, the term Italia, from Latin, Italia, was borrowed through Greek from the Oscan Víteliú, meaning land of young cattle. The bull was a symbol of the southern Italic tribes and was often depicted goring the Roman wolf as a defiant symbol of free Italy during the Social War. Greek historian Dionysius of Halicarnassus states this account together with the legend that Italy was named after Italus, mentioned also by Aristotle and Thucydides. The name Italia originally applied only to a part of what is now Southern Italy – according to Antiochus of Syracuse, but by his time Oenotria and Italy had become synonymous, and the name also applied to most of Lucania as well. The Greeks gradually came to apply the name Italia to a larger region, excavations throughout Italy revealed a Neanderthal presence dating back to the Palaeolithic period, some 200,000 years ago, modern Humans arrived about 40,000 years ago. Other ancient Italian peoples of undetermined language families but of possible origins include the Rhaetian people and Cammuni. Also the Phoenicians established colonies on the coasts of Sardinia and Sicily, the Roman legacy has deeply influenced the Western civilisation, shaping most of the modern world
4.
Luca Carlevarijs
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Luca Carlevarijs or Carlevaris was an Italian painter and engraver working mainly in Venice. He pioneered the genre of the cityscapes of Venice, a genre that was widely followed by artists such as Canaletto. He was also known as Luca Casanobrio or Luca di Ca Zenobri and he worked principally in Venice, where he also died. His daughter, Marianna Carlevarijs learned the art of portraiture from Rosalba Carriera. Here he was influenced by the Dutch painter Caspar van Wittel, van Wittel was the pioneer of the genre of vedute of Rome. Carlevarijs then started to create vedute of Venice, which are among the earliest Baroque depictions of the city and he painted landscapes, sea-pieces and perspective views. His works included cityscapes with a topological interest as well as imaginary landscapes with ruins and he completed over a hundred etchings of views in Venice, which give an exact representation of the principal places in that city. The painters Canaletto, Francesco Guardi and Antonio Visentini are said to have influenced by his work or even have been his pupils. His paintings and his set of 104 etched views of Venice and he also collaborated with specialist figure painters who added the staffage into his landscapes or cityscapes. Dictionary of Painters and Engravers, Biographical and Critical, york St. #4, Covent Garden, London, Original from Fogg Library, Digitized May 18,2007, George Bell and Sons. Media related to Luca Carlevarijs at Wikimedia Commons
5.
Landscape painting
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In other works, landscape backgrounds for figures can still form an important part of the work. Sky is almost always included in the view, and weather is often an element of the composition, detailed landscapes as a distinct subject are not found in all artistic traditions, and develop when there is already a sophisticated tradition of representing other subjects. The two main traditions spring from Western painting and Chinese art, going well over a thousand years in both cases. Landscape views in art may be imaginary, or copied from reality with varying degrees of accuracy. If the primary purpose of a picture is to depict an actual, specific place, especially including buildings prominently, within a few decades it was used to describe vistas in poetry, and eventually as a term for real views. However the cognate term landscaef or landskipe for a patch of land had existed in Old English. The earliest pure landscapes with no figures are frescos from Minoan Greece of around 1500 BCE. The frescos from the Tomb of Nebamun, now in the British Museum, are a famous example. These were frequently used, as in the illustrated, to bridge the gap between a foreground scene with figures and a distant panoramic vista, a persistent problem for landscape artists. The Chinese style generally showed only a distant view, or used dead ground or mist to avoid that difficulty, aesthetic theories in both regions gave the highest status to the works seen to require the most imagination from the artist. They were often also poets whose lines and images illustrated each other, a revival in interest in nature initially mainly manifested itself in depictions of small gardens such as the Hortus Conclusus or those in millefleur tapestries. The frescos of figures at work or play in front of a background of trees in the Palace of the Popes. Several frescos of gardens have survived from Roman houses like the Villa of Livia, a particular advance is shown in the less well-known Turin-Milan Hours, now largely destroyed by fire, whose developments were reflected in Early Netherlandish painting for the rest of the century. Landscape backgrounds for various types of painting became prominent and skilful during the 15th century. The Italian development of a system of graphical perspective was now known all over Europe. Indeed, certain styles were so popular that they became formulas that could be copied again and again, after the publication of the Small Landscapes, landscape artists in the Low Countries either continued with the world landscape or followed the new mode presented by the Small Landscapes. The popularity of landscape scenes can be seen in the success of the painter Frans Post. Salvator Rosa gave picturesque excitement to his landscapes by showing wilder Southern Italian country, there are different styles and periods, and subgenres of marine and animal painting, as well as a distinct style of Italianate landscape
6.
Etching
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Etching is traditionally the process of using strong acid or mordant to cut into the unprotected parts of a metal surface to create a design in intaglio in the metal. In modern manufacturing, other chemicals may be used on other types of material, as a method of printmaking, it is, along with engraving, the most important technique for old master prints, and remains in wide use today. In a number of variants such as microfabrication etching and photochemical milling it is a crucial technique in much modern technology. In traditional pure etching, a plate is covered with a waxy ground which is resistant to acid. The artist then scratches off the ground with an etching needle where he or she wants a line to appear in the finished piece. The échoppe, a tool with an oval section, is also used for swelling lines. The plate is dipped in a bath of acid, technically called the mordant or etchant. The acid bites into the metal where it is exposed, leaving behind lines sunk into the plate, the remaining ground is then cleaned off the plate. The plate is inked all over, and then the ink wiped off the surface, the plate is then put through a high-pressure printing press together with a sheet of paper. The paper picks up the ink from the lines, making a print. The process can be repeated many times, typically several hundred impressions could be printed before the shows much sign of wear. The work on the plate can also be added to by repeating the whole process, Etching has often been combined with other intaglio techniques such as engraving or aquatint. The process as applied to printmaking is believed to have been invented by Daniel Hopfer of Augsburg, Hopfer was a craftsman who decorated armour in this way, and applied the method to printmaking, using iron plates. Apart from his prints, there are two examples of his work on armour, a shield from 1536 now in the Real Armeria of Madrid. The switch to copper plates was made in Italy. On the other hand, the handling of the ground and acid need skill and experience, prior to 1100 AD, the New World Hohokam independently utilized the technique of acid etching in marine shell designs. Jacques Callot from Nancy in Lorraine made important technical advances in etching technique and he developed the échoppe, a type of etching-needle with a slanting oval section at the end, which enabled etchers to create a swelling line, as engravers were able to do. Callot also appears to have responsible for an improved, harder, recipe for the etching ground
7.
Owen Swiny
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Owen Swiny was an Irish theatre impresario and art dealer active in London. Having attended Trinity College, Dublin from 1694, he was working at the Drury Lane Theatre by spring 1703 with Christopher Rich and he also adapted Molières Lamour médecin as The Quacks, putting it on at the Drury Lane Theatre on 29 March 1705. He was evicted from Drury Lane in 1709 by William Collier, in the meantime, in 1706, he had leased the Queens Theatre in the Haymarket from Sir John Vanbrugh, quarrelled with Rich and poached Colley Cibber from him. After initial success with plays and opera there, Colliers court intrigues against Swiny led to his bankruptcy by January 1713. In around 1733, after about 20 years abroad, Swiny came back to London, benefit nights for him followed in 1735 and 1736, with the Opera of the Nobilitys directors in 1736 considering sending him back to Italy to recruit singers. In 1737 he sat for his portrait from Peter van Bleeck, in around 1749 Swiny made a trip to Paris for John Rich, to arrange the London tour of Jean Monnets troupe, before dying in London in 1754 and being buried in St Martin-in-the-Fields. His estate was left in trust for the actress Margaret Woffington, with his leaving as trustees Robert Maxwell
8.
Joseph Smith (art collector)
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His collection of drawings were bought for George III of Great Britain and form a nucleus of the Royal Collection of drawings in the Print Room at Windsor Castle. Beside Canaletto, among the living painters whom he patronised were Francesco Zuccarelli, of Florence, and his favoured architect for rebuilding the façade of his palazzo was Antonio Visentini. It was his pleasure to issue lavishly-printed books in extremely limited editions, for which he had the services of Giovanni Battista Pasquali, whose press he bankrolled. A reproduction of Boccaccios Decamerone from the Pasquali press, guided by Smith, was so exact a facsimile of the edition of 1527 that only close examination tells them apart. A Catalogue Librorum Rarissimorum was in fact a partial catalogue of the rarities in Smiths own library. A second edition adds thirty-one titles, a general catalogue of his library was published in 1755. Smith himself was a collector of contemporary Venetian painting and drawings. In 1768 he published a facsimile of the edition of Palladios Quattro libri dell architecttura of 1570. In 1762 Smith sold the vast majority of his books, gems, coins, prints, the books today form the nucleus of the Kings Library at the British Museum, while the Royal Collection retains his other treasures. Smiths other passion was for music, which he indulged in part by marrying the noted and he retained the post until the accession of George III in 1760. In expectation of his appointment Smith purchased outright Palazzo Balbi on the Grand Canal, soon thereafter he commissioned Antonio Visentini to redesign the façade in the Palladian style. Smiths summer villa in the terraferma was at Mogliano, George III began to form his library by purchasing Smiths in virtually its entirety in 1765, for £10,000, they form that part of the British Library known as the Kings Library. Smith did not stop collecting, the dispersal of his collection of books by auction in London. Many of Smiths paintings also went to the British Royal Collection, through the mediation of James Smart Mackenzie, a generous selection of his manuscripts were purchased by Lord Sunderland for the library at Blenheim Palace, which was dispersed in turn in the nineteenth century. At quite an advanced age, the widowed consul Smith, his wife having died in 1746, married a sister of John Murray, resident at Venice and afterwards British ambassador to Turkey. His grave was on the Lido, where Goethe, travelling in the late seventeen-eighties, stopped to pay respects, to him I owe my copy of Palladio, and I offered up a grateful prayer
9.
Italians
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Italians are a nation and ethnic group native to Italy who share a common culture, ancestry and speak the Italian language as a native tongue. The majority of Italian nationals are speakers of Standard Italian. Italians have greatly influenced and contributed to the arts and music, science, technology, cuisine, sports, fashion, jurisprudence, banking, Italian people are generally known for their localism and their attention to clothing and family values. The term Italian is at least 3,000 years old and has a history that goes back to pre-Roman Italy. According to one of the common explanations, the term Italia, from Latin, Italia, was borrowed through Greek from the Oscan Víteliú. The bull was a symbol of the southern Italic tribes and was often depicted goring the Roman wolf as a defiant symbol of free Italy during the Social War. Greek historian Dionysius of Halicarnassus states this account together with the legend that Italy was named after Italus, mentioned also by Aristotle and Thucydides. The Etruscan civilization reached its peak about the 7th century BC, but by 509 BC, when the Romans overthrew their Etruscan monarchs, its control in Italy was on the wane. By 350 BC, after a series of wars between Greeks and Etruscans, the Latins, with Rome as their capital, gained the ascendancy by 272 BC, and they managed to unite the entire Italian peninsula. This period of unification was followed by one of conquest in the Mediterranean, in the course of the century-long struggle against Carthage, the Romans conquered Sicily, Sardinia and Corsica. Finally, in 146 BC, at the conclusion of the Third Punic War, with Carthage completely destroyed and its inhabitants enslaved, octavian, the final victor, was accorded the title of Augustus by the Senate and thereby became the first Roman emperor. After two centuries of rule, in the 3rd century AD, Rome was threatened by internal discord and menaced by Germanic and Asian invaders. Emperor Diocletians administrative division of the empire into two parts in 285 provided only temporary relief, it became permanent in 395, in 313, Emperor Constantine accepted Christianity, and churches thereafter rose throughout the empire. However, he moved his capital from Rome to Constantinople. The last Western emperor, Romulus Augustulus, was deposed in 476 by a Germanic foederati general in Italy and his defeat marked the end of the western part of the Roman Empire. During most of the period from the fall of Rome until the Kingdom of Italy was established in 1861, Odoacer ruled well for 13 years after gaining control of Italy in 476. Then he was attacked and defeated by Theodoric, the king of another Germanic tribe, Theodoric and Odoacer ruled jointly until 493, when Theodoric murdered Odoacer. Theodoric continued to rule Italy with an army of Ostrogoths and a government that was mostly Italian, after the death of Theodoric in 526, the kingdom began to grow weak
10.
Veduta
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A veduta is a highly detailed, usually large-scale painting or, more often print, of a cityscape or some other vista. The painters of vedute are referred to as vedutisti and this genre of landscape originated in Flanders, where artists such as Paul Bril painted vedute as early as the 16th century. In the 17th century Dutch painters made a specialty of detailed and accurate recognizable city, an archetypal example is Johannes Vermeers View of Delft. The Ghent architect, draughtsman and engraver Lieven Cruyl contributed to the development of the vedute during his residence in Rome in the late 17th century, cruyl’s drawings reproduce the topographical aspects of the urban landscape. By the mid-18th century, Venice became renowned as the centre of the vedutisti, the genres greatest practitioners belonged to the Canal and Guardi families of Venice. Some of them went to work as painters in major capitals of Europe, e. g. Canaletto in London and his nephew Bernardo Bellotto in Dresden, in other parts of 18th-century Italy, idiosyncratic varieties of the genre evolved. Giovanni Paolo Pannini was the first veduta artist to concentrate on painting ruins and his collaborators included Hendrik Frans van Lint, who would become one of the leading vedute painters in the first half of the 18th century. In later developments of the vedute, Panninis veduta morphed into the scenes partly or completely imaginary elements, known as capricci, giambattista Piranesi was the foremost master of vedute ideate etchings. His topographical series, Vedute di Roma, went through many printings, in the later 19th century, more personal impressions of cityscapes replaced the desire for topographical accuracy, which was satisfied instead by painted, and later photographed, panoramas. These artists responded to the international market for their city views of Venice and they made such big names for themselves through this genre that they painted nothing. Demand for Federico del Campos views, particularly from English tourists, was so strong, I pittori di vedute in Italia, 1580-1830. Canaletto, a full text exhibition catalog from The Metropolitan Museum of Art, which has material on Canalettos contributions to the genre
11.
Rome
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Rome is a special comune and the capital of Italy. Rome also serves as the capital of the Lazio region, with 2,873,598 residents in 1,285 km2, it is also the countrys largest and most populated comune and fourth-most populous city in the European Union by population within city limits. It is the center of the Metropolitan City of Rome, which has a population of 4.3 million residents, the city is located in the central-western portion of the Italian Peninsula, within Lazio, along the shores of the Tiber. Romes history spans more than 2,500 years, while Roman mythology dates the founding of Rome at only around 753 BC, the site has been inhabited for much longer, making it one of the oldest continuously occupied sites in Europe. The citys early population originated from a mix of Latins, Etruscans and it was first called The Eternal City by the Roman poet Tibullus in the 1st century BC, and the expression was also taken up by Ovid, Virgil, and Livy. Rome is also called the Caput Mundi, due to that, Rome became first one of the major centres of the Italian Renaissance, and then the birthplace of both the Baroque style and Neoclassicism. Famous artists, painters, sculptors and architects made Rome the centre of their activity, in 1871 Rome became the capital of the Kingdom of Italy, and in 1946 that of the Italian Republic. Rome has the status of a global city, Rome ranked in 2014 as the 14th-most-visited city in the world, 3rd most visited in the European Union, and the most popular tourist attraction in Italy. Its historic centre is listed by UNESCO as a World Heritage Site, monuments and museums such as the Vatican Museums and the Colosseum are among the worlds most visited tourist destinations with both locations receiving millions of tourists a year. Rome hosted the 1960 Summer Olympics and is the seat of United Nations Food, however, it is a possibility that the name Romulus was actually derived from Rome itself. As early as the 4th century, there have been alternate theories proposed on the origin of the name Roma. There is archaeological evidence of occupation of the Rome area from approximately 14,000 years ago. Evidence of stone tools, pottery and stone weapons attest to about 10,000 years of human presence, several excavations support the view that Rome grew from pastoral settlements on the Palatine Hill built above the area of the future Roman Forum. Between the end of the age and the beginning of the Iron age. However, none of them had yet an urban quality, nowadays, there is a wide consensus that the city was gradually born through the aggregation of several villages around the largest one, placed above the Palatine. All these happenings, which according to the excavations took place more or less around the mid of the 8th century BC. Despite recent excavations at the Palatine hill, the view that Rome has been indeed founded with an act of will as the legend suggests in the middle of the 8th century BC remains a fringe hypothesis. Traditional stories handed down by the ancient Romans themselves explain the earliest history of their city in terms of legend and myth
12.
London
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London /ˈlʌndən/ is the capital and most populous city of England and the United Kingdom. Standing on the River Thames in the south east of the island of Great Britain and it was founded by the Romans, who named it Londinium. Londons ancient core, the City of London, largely retains its 1. 12-square-mile medieval boundaries. London is a global city in the arts, commerce, education, entertainment, fashion, finance, healthcare, media, professional services, research and development, tourism. It is crowned as the worlds largest financial centre and has the fifth- or sixth-largest metropolitan area GDP in the world, London is a world cultural capital. It is the worlds most-visited city as measured by international arrivals and has the worlds largest city airport system measured by passenger traffic, London is the worlds leading investment destination, hosting more international retailers and ultra high-net-worth individuals than any other city. Londons universities form the largest concentration of education institutes in Europe. In 2012, London became the first city to have hosted the modern Summer Olympic Games three times, London has a diverse range of people and cultures, and more than 300 languages are spoken in the region. Its estimated mid-2015 municipal population was 8,673,713, the largest of any city in the European Union, Londons urban area is the second most populous in the EU, after Paris, with 9,787,426 inhabitants at the 2011 census. The citys metropolitan area is the most populous in the EU with 13,879,757 inhabitants, the city-region therefore has a similar land area and population to that of the New York metropolitan area. London was the worlds most populous city from around 1831 to 1925, Other famous landmarks include Buckingham Palace, the London Eye, Piccadilly Circus, St Pauls Cathedral, Tower Bridge, Trafalgar Square, and The Shard. The London Underground is the oldest underground railway network in the world, the etymology of London is uncertain. It is an ancient name, found in sources from the 2nd century and it is recorded c.121 as Londinium, which points to Romano-British origin, and hand-written Roman tablets recovered in the city originating from AD 65/70-80 include the word Londinio. The earliest attempted explanation, now disregarded, is attributed to Geoffrey of Monmouth in Historia Regum Britanniae and this had it that the name originated from a supposed King Lud, who had allegedly taken over the city and named it Kaerlud. From 1898, it was accepted that the name was of Celtic origin and meant place belonging to a man called *Londinos. The ultimate difficulty lies in reconciling the Latin form Londinium with the modern Welsh Llundain, which should demand a form *lōndinion, from earlier *loundiniom. The possibility cannot be ruled out that the Welsh name was borrowed back in from English at a later date, and thus cannot be used as a basis from which to reconstruct the original name. Until 1889, the name London officially applied only to the City of London, two recent discoveries indicate probable very early settlements near the Thames in the London area
13.
Capriccio (art)
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It falls under the more general term of landscape painting. The term is used for other artworks with an element of fantasy. These architectural elements gained prominence in 17th century painting to become subjects of easel paintings. Early practitioners of the genre who made the popular in mid-17th century Rome included Alessandro Salucci. The quadratture frescoes of Agostino Tassi and the views of Claude Lorrain and Herman van Swanevelt. This genre was perfected by Marco Ricci but its best-known proponent was the artist Giovanni Paolo Pannini and this style was extended in the 1740s by Canaletto in his etched vedute ideali, and works by Piranesi and his imitators. Later examples include Charles Robert Cockerells A Tribute to Sir Christopher Wren and A Professors Dream, the artist Carl Laubin has painted a number of modern capriccios in homage to these works. The term can be used broadly for other works with a strong element of fantasy. No individual titles help to explain these works, mood and style are everything, a later series was called Scherzi di fantasia – Fantastic Sketches. His son Domenico Tiepolo was among those who imitated these prints and they take Tiepolos format of a group of figures, now drawn from contemporary Spanish life, and are a series of savage satires and comments on its absurdity, only partly explicated by short titles. Media related to Capriccios at Wikimedia Commons
14.
Printmaking
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Printmaking is the process of making artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints that have an element of originality, except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each print produced is not considered a copy but rather is considered an original, a print may be known as an impression. Printmaking is not chosen only for its ability to multiple impressions. Prints are created by transferring ink from a matrix or through a screen to a sheet of paper or other material. Screens made of silk or synthetic fabrics are used for the screenprinting process, other types of matrix substrates and related processes are discussed below. Multiple impressions printed from the matrix form an edition. Prints may also be printed in book form, such as illustrated books or artists books, Printmaking techniques are generally divided into the following basic categories, Relief, where ink is applied to the original surface of the matrix. Relief techniques include woodcut or woodblock as the Asian forms are known, wood engraving. Intaglio, where ink is applied beneath the surface of the matrix. Intaglio techniques include engraving, etching, mezzotint, aquatint, planographic, where the matrix retains its original surface, but is specially prepared and/or inked to allow for the transfer of the image. Planographic techniques include lithography, monotyping, and digital techniques, stencil, where ink or paint is pressed through a prepared screen, including screenprinting and pochoir. Other types of printmaking techniques outside these groups include collagraphy and viscosity printing, collagraphy is a printmaking technique in which textured material is adhered to the printing matrix. This texture is transferred to the paper during the printing process, Contemporary printmaking may include digital printing, photographic mediums, or a combination of digital, photographic, and traditional processes. Many of these techniques can also be combined, especially within the same family, for example, Rembrandts prints are usually referred to as etchings for convenience, but very often include work in engraving and drypoint as well, and sometimes have no etching at all. Woodcut, a type of print, is the earliest printmaking technique. It was probably first developed as a means of printing patterns on cloth, woodcuts of images on paper developed around 1400 in Japan, and slightly later in Europe. These are the two areas where woodcut has been most extensively used purely as a process for making images without text, the artist draws a design on a plank of wood, or on paper which is transferred to the wood
15.
George III of the United Kingdom
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He was concurrently Duke and prince-elector of Brunswick-Lüneburg in the Holy Roman Empire until his promotion to King of Hanover on 12 October 1814. He was the third British monarch of the House of Hanover, early in his reign, Great Britain defeated France in the Seven Years War, becoming the dominant European power in North America and India. However, many of Britains American colonies were soon lost in the American War of Independence, further wars against revolutionary and Napoleonic France from 1793 concluded in the defeat of Napoleon at the Battle of Waterloo in 1815. In the later part of his life, George III had recurrent, although it has since been suggested that he had the blood disease porphyria, the cause of his illness remains unknown. After a final relapse in 1810, a regency was established, on George IIIs death, the Prince Regent succeeded his father as George IV. Historical analysis of George IIIs life has gone through a kaleidoscope of changing views that have depended heavily on the prejudices of his biographers and the sources available to them. Until it was reassessed in the half of the 20th century, his reputation in the United States was one of a tyrant. George was born in London at Norfolk House and he was the grandson of King George II, and the eldest son of Frederick, Prince of Wales, and Augusta of Saxe-Gotha. As Prince George was born two months prematurely and he was unlikely to survive, he was baptised the same day by Thomas Secker. One month later, he was baptised at Norfolk House. His godparents were the King of Sweden, his uncle the Duke of Saxe-Gotha, George grew into a healthy but reserved and shy child. The family moved to Leicester Square, where George and his younger brother Prince Edward, Duke of York, Family letters show that he could read and write in both English and German, as well as comment on political events of the time, by the age of eight. He was the first British monarch to study science systematically and his religious education was wholly Anglican. At age 10 George took part in a production of Joseph Addisons play Cato and said in the new prologue, What. It may with truth be said, A boy in England born, historian Romney Sedgwick argued that these lines appear to be the source of the only historical phrase with which he is associated. Georges grandfather, King George II, disliked the Prince of Wales, however, in 1751 the Prince of Wales died unexpectedly from a lung injury, and George became heir apparent to the throne. He inherited one of his fathers titles and became the Duke of Edinburgh, now more interested in his grandson, three weeks later the King created George Prince of Wales. Georges mother, now the Dowager Princess of Wales, preferred to keep George at home where she could imbue him with her moral values
16.
The Stonemason's Yard
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The Stonemasons Yard is an early oil painting by Giovanni Antonio Canal, better known as Canaletto. Painted in the mid to late 1720s, it is considered one of Canalettos finest works, several masons are at work shaping and carving stone probably destined for the reconstruction of the nearby church of San Vidal or possibly for the embellishment of a nearby palazzo. The mainly domestic buildings are generally in poor repair, with typical Venetian flared chimney-pots, laundry hangs from many of the windows, and pot plants stand on several balconies. A gondola with canopied cabin passes on the canal, with others moored on either bank, unsigned and undated, the painting is attributed and dated by stylistic clues. The informal scene is thought to have been painted for a Venetian patron, rather than a visitor to Venice. Unlike many views painted by Canaletto and his fellow vedutisti, the location has changed significantly since the 1720s. The view of the bank of the Grand Canal is now blocked by the high arch of the modern wooden Accademia bridge. The campanile fell down in the 1740s, demolishing the houses beside the canal in front, the nave became the Accademia di Belle Arti di Venezia in the 1800s, and the Gallerie dellAccademia is housed in the Scuola. The Campo remains a space, with the well-head at its centre. The domestic building to the right remains standing, the Stonemasons Yard is a very early example of using Prussian blue in oil painting. Canaletto painted The Stonemasons Yard around 1725 while Prussian blue was discovered by Diesbach in 1704, amongst other pigments used by Canaletto in this painting were Naples yellow, lead white and ochres. The Stonemasons Yard was one of the paintings donated to the nation by Sir George Beaumont in 1823 to form the nucleus of the National Gallerys nascent collection and it passed to the National Gallery in 1828, where it continues to be exhibited. Canaletto, a full text exhibition catalog from The Metropolitan Museum of Art, which contains material on The Stonemasons Yard Canaletto, The Stonemasons Yard, ColourLex
17.
Giovanni Paolo Panini
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Giovanni Paolo Panini or Pannini was a painter and architect, who worked in Rome and is mainly known as one of the vedutisti. As a painter, Panini is best known for his vistas of Rome, among his most famous works are his view of the interior of the Pantheon, and his vedute—paintings of picture galleries containing views of Rome. Most of his works, specially those of ruins, have a fanciful, in this they resemble the capricci of Marco Ricci. Panini also painted portraits, including one of Pope Benedict XIV, as a young man, Panini trained in his native town of Piacenza, under Giuseppe Natali and Andrea Galluzzi, and later the stage designer Francesco Galli-Bibiena. In 1711, he moved to Rome, where he studied drawing with Benedetto Luti, in Rome, Panini became famous as a decorator of palaces, including the Villa Patrizi, the Palazzo de Carolis, and the Seminario Romano. In 1719, Panini was admitted to the Congregazione dei Virtuosi al Pantheon and he taught in Rome at the Accademia di San Luca and the Académie de France, where he influenced Jean-Honoré Fragonard. In 1754, he served as the principal of the Accademia di San Luca, Panini died in Rome on 21 October 1765. Paninis studio included Hubert Robert and his son Francesco Panini, some British landscape painters, such as Marlow, Skelton and Wright of Derby, also imitated his capricci. In addition to being a painter and architect, Panini was a professor of perspective and his masterful use of perspective was later the inspiration for the creation of the Panini Projection, which is instrumental in rendering panoramic views. Death Leap of Marcus Arisi, Ferdinando, gian Paolo Panini e i fasti della Roma del 700. Arisi, Ferdinando, Giovanni Paolo Panini 1691-1765, Milano,1993, Horak, Marco, Quellopera prima di Panini gemella del dipinto esposto al Lombardi di Parma, in LUrtiga - Quaderni di cultura Piacentina, Piacenza, n. Horak, Marco, Lopera prima del Panini in una collezione privata, in Panorama Musei, anno XVIII, n.3, dicembre 2013 Horak, Marco, Panini al Fine Art Museum di San Francisco, in Panorama Musei, anno XXI, n
18.
Cityscape
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In the visual arts a cityscape is an artistic representation, such as a painting, drawing, print or photograph, of the physical aspects of a city or urban area. It is the equivalent of a landscape. Townscape is roughly synonymous with cityscape, though it implies the same difference in urban size, in urban design the terms refer to the configuration of built forms and interstitial space. From the first century A. D. dates a fresco at the Baths of Trajan in Rome depicting a birds eye view of an ancient city, in the Middle Ages, cityscapes appeared as a background for portraits and biblical themes. From the 16th up to the 18th century numerous copperplate prints, the function of these prints was to provide a map-like overview. Halfway the 17th century the cityscape became an independent genre in the Netherlands, in his famous View of Delft in 1660-1661 Jan Vermeer painted a quite accurate portrait of the city Delft. Cities like Amsterdam, Haarlem and The Hague also became subjects for paintings. Painters from other European countries followed the Dutch example, the 18th century was a flourishing period for cityscape painting in Venice. At the end of the 19th century the impressionists focused on the atmosphere, suburban and industrial areas, building sites and railway yards also became subjects for cityscapes. During the 20th century attention became focused on abstract and conceptual art, American painter Edward Hopper, who stayed loyal to figurative painting, created intriguing images of the American scene. With a revival of art at the end of the 20th century comes a revaluation of the cityscape. Well-known living cityscape painters are Rackstraw Downes, Antonio López García, American artist Yvonne Jacquette has made a specialty of aerial cityscapes. Stephen Wiltshire, a London born artist with autism, is known for his panoramic cityscape renderings composed from memory, gordon Cullen Landscape painting List of cities with most skyscrapers Skyline Veduta Media related to Cityscape paintings at Wikimedia Commons
19.
Alessandro Marchesini
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Alessandro Marchesini was an Italian painter and art merchant of the late-Baroque and Rococo, active in Northern Italy and Venice. He first trained in Verona with Biagio Falcieri and then with Antonio Calza and he then moved to Bologna, to work in the studio of Carlo Cignani. He is described as gaining fame for his allegories with small figures and he painted in for the church of San Silvestro, Venice, and for the church of San Stefano, Verona. He is also remembered for recommending a young painter, Canaletto, to the Lucchese art collector Stefano Conti, stating that he was like Luca Carlevaris, among his pupils is Carlo Salis. Studi sopra la storia della pittura italiana dei secoli xiv e xv e della scuola pittorica, original from Oxford University Farquhar, Maria. Wornum, ed. Biographical catalogue of the principal Italian painters, woodfall & Kinder, Angel Court, Skinner Street, London. Media related to Alessandro Marchesini at Wikimedia Commons
20.
Camera obscura
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The surroundings of the projected image have to be relatively dark for the image to be clear, so many historical camera obscura experiments were performed in dark rooms. The term camera obscura also refers to constructions or devices that use of the principle within a box. Camerae obscurae with a lens in the opening have been used since the second half of the 16th century, before the term camera obscura was first used in 1604, many other expressions were used including cubiculum obscurum, cubiculum tenebricosum, conclave obscurum and locus obscurus. Rays of light travel in straight lines and change when they are reflected and partly absorbed by an object, retaining information about the color, lit objects reflect rays of light in all directions. The human eye itself works much like a camera obscura with an opening, a biconvex lens, a camera obscura device consists of a box, tent or room with a small hole in one side. Light from a scene passes through the hole and strikes a surface inside, where the scene is reproduced, inverted and reversed. The image can be projected onto paper, and can then be traced to produce an accurate representation. In order to produce a reasonably clear projected image, the aperture has to be about 1/100th the distance to the screen, many camerae obscurae use a lens rather than a pinhole because it allows a larger aperture, giving a usable brightness while maintaining focus. As the pinhole is made smaller, the image gets sharper, with too small a pinhole, however, the sharpness worsens, due to diffraction. Using mirrors, as in an 18th-century overhead version, it is possible to project a right-side-up image, another more portable type is a box with an angled mirror projecting onto tracing paper placed on the glass top, the image being upright as viewed from the back. There are theories that occurrences of camera obscura effects inspired paleolithic cave paintings and it is also suggested that camera obscura projections could have played a role in Neolithic structures. Perforated gnomons projecting an image of the sun were described in the Chinese Zhoubi Suanjing writings. The location of the circle can be measured to tell the time of day. In Arab and European cultures its invention was later attributed to Egyptian astronomer. Some ancient sightings of gods and spirits, especially in worship, are thought to possibly have been conjured up by means of camera obscura projections. In these writings it is explained how the image in a collecting-point or treasure house is inverted by an intersecting point that collected the light. Light coming from the foot of a person would partly be hidden below. Rays from the head would partly be hidden above and partly form the part of the image
21.
Royal Collection
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The Royal Collection is the art collection of the British Royal Family and the largest private art collection in the world. The Queen owns some objects in the collection in right of the Crown, the Queens Gallery at Buckingham Palace in London was built specially to exhibit pieces from the collection on a rotating basis. There is an art gallery next to the Palace of Holyroodhouse in Edinburgh. The Crown Jewels are on display in the Jewel House at the Tower of London. About 3,000 objects are on loan to museums throughout the world, few items from before King Henry VIII survive. The most important additions to the collection were made by Charles I, a collector of Italian paintings. Many works have been given from the collection to museums, especially by George III and Victoria, in particular, most of the then royal library was given by George III to the British Museum, now the British Library, where many books are still catalogued as Royal. The core of this collection was the purchase by James I of the collections of Humphrey Llwyd, Lord Lumley. Throughout the reign of Elizabeth II, there have been significant additions to the collection through purchases, bequests and through gifts from nation states. Numbering over 7,000 works, spread across the Royal Residences, numbering over 300 items, the Royal Collection holds one of the greatest and most important collections of French furniture ever assembled. The collection is noted for its range as well as counting the greatest cabinet-makers of the Ancien Régime. The Royal Collection is privately owned, although some of the works are displayed in areas of palaces, some of the collection is owned by the monarch personally, and everything else is described as being held in trust by the monarch in right of the Crown. All works of art acquired by monarchs up to the death of Queen Victoria in 1901 are heirlooms which fall into the latter category. Items the British royal family acquired later, including official gifts, ambiguity surrounds the status of objects that have come into Queen Elizabeth IIs possession during her reign. The Royal Collection Trust has confirmed that all pieces left to the Queen by the Queen Mother belong to her personally, non-personal items are said to be inalienable as they can only be willed to the monarchs successor. The legal accuracy of this claim has never been substantiated in court, in a 2000 television interview, the Duke of Edinburgh said that the Queen was technically, perfectly at liberty to sell them. In 1995, Iain Sproat, then Secretary of State for National Heritage, a registered charity, the Royal Collection Trust was set up in 1993 after the Windsor Castle fire with a mandate to conserve the works and enhance the publics appreciation and understanding of art. It employs around 500 staff and is one of the five departments of the Royal Household, buildings do not come under its remit
22.
Venetian Arsenal
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The Venetian Arsenal is a complex of former shipyards and armories clustered together in the city of Venice in northern Italy. Owned by the state, the Arsenal was responsible for the bulk of the Venetian republics naval power during the part of the second millennium AD. It was one of the earliest large-scale industrial enterprises in history, construction of the Arsenal began around 1104, during Venices republican era. It became the largest industrial complex in Europe before the Industrial Revolution, spanning an area of about 45 hectares, surrounded by a 2-mile rampart, laborers and shipbuilders regularly worked within the Arsenal, building ships that sailed from the citys port. These parts could then be assembled into a ship in as little as one day, an exclusive forest owned by the Arsenal navy, in the Montello hills area of Veneto, provided the Arsenals wood supply. It is located in the Castello district of Venice, and it is now owned by the state and it definitely existed by the early 13th century. Initially the state dockyard worked merely to maintain privately built naval ships and it enabled all the states navy and the larger merchant ships to be both constructed and maintained in one place. The Arsenal incidentally became an important center for manufacture. Venice developed methods of mass-producing warships in the Arsenal, including the frame-first system to replace the Roman hull-first practice and this new system was much faster and required less wood. The muzzle velocity of handguns was improved beyond that of the crossbow, the Arsenals main gate, the Porta Magna, was built around 1460 and was the first Classical revival structure built in Venice. It was perhaps built by Antonio Gambello from a design by Jacopo Bellini, two lions taken from Greece situated beside it were added in 1687. One of the lions, known as the Piraeus Lion, has runic defacements carved in it by invading Scandinavian mercenaries during the 11th century, in the late 16th century, the Arsenals designers experimented with larger ships as platforms for heavy naval guns. The largest was the galleass, already used at the Battle of Lepanto against the Ottoman Turks and it was huge, propelled by both sails and oars, with guns mounted on wheeled carriages along the sides in the modern fashion. It was slow and unwieldy in battle, however, and few were ever built, the galleon, also developed at the Arsenal, was an armed sailing ship, a slimmer version of the merchant round ship. It was useful in naval battles, but not in the small bays. Significant parts of the Arsenal were destroyed under Napoleonic rule, and it is also used as a research center and an exhibition venue during the Venice Biennale, and is home to a historic boat preservation center. The Arsenal was something different, a harbinger of future times, the Venetian Arsenal was not the mass production facility that it was to be until about 1320 with the creation of the Arsenale Nuovo. The Arsenale Nuovo was simply a larger and more efficient version of the original, prior to this time the Arsenal had served mainly as a place to maintain privately built ships
23.
National Gallery
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The National Gallery is an art museum in Trafalgar Square in the City of Westminster, in Central London. Founded in 1824, it houses a collection of over 2,300 paintings dating from the century to 1900. The Gallery is a charity, and a non-departmental public body of the Department for Culture, Media. Its collection belongs to the public of the United Kingdom and entry to the collection is free of charge. It is among the most visited art museums in the world, after the Musée du Louvre, the British Museum, unlike comparable museums in continental Europe, the National Gallery was not formed by nationalising an existing royal or princely art collection. It came into being when the British government bought 38 paintings from the heirs of John Julius Angerstein, after that initial purchase the Gallery was shaped mainly by its early directors, notably Sir Charles Lock Eastlake, and by private donations, which comprise two-thirds of the collection. It used to be claimed that this was one of the few national galleries that had all its works on permanent exhibition, the present building, the third to house the National Gallery, was designed by William Wilkins from 1832 to 1838. Only the façade onto Trafalgar Square remains essentially unchanged from this time, wilkinss building was often criticised for the perceived weaknesses of its design and for its lack of space, the latter problem led to the establishment of the Tate Gallery for British art in 1897. The Sainsbury Wing, an extension to the west by Robert Venturi, the current Director of the National Gallery is Gabriele Finaldi. The late 18th century saw the nationalisation of royal or princely art collections across mainland Europe, great Britain, however, did not emulate the continental model, and the British Royal Collection remains in the sovereigns possession today. In 1777 the British government had the opportunity to buy an art collection of international stature, the MP John Wilkes argued for the government to buy this invaluable treasure and suggested that it be housed in a noble gallery. The twenty-five paintings from that now in the Gallery, including NG1, have arrived by a variety of routes. This offer was declined and Bourgeois bequeathed the collection to his old school, Dulwich College, the collection opened in Britains first purpose-built public gallery, the Dulwich Picture Gallery, in 1814. The British Institution, founded in 1805 by a group of aristocratic connoisseurs, the members lent works to exhibitions that changed annually, while an art school was held in the summer months. However, as the paintings that were lent were often mediocre, some resented the Institution. One of the Institutions founding members, Sir George Beaumont, Bt, in 1823 another major art collection came on the market, which had been assembled by the recently deceased John Julius Angerstein. Angerstein was a Russian-born émigré banker based in London, his collection numbered 38 paintings, including works by Raphael, on 1 July 1823 George Agar Ellis, a Whig politician, proposed to the House of Commons that it purchase the collection. The appeal was given added impetus by Beaumonts offer, which came with two conditions, that the government buy Angersteins collection, and that a building was to be found
24.
Doge's Palace
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The Doges Palace is a palace built in Venetian Gothic style, and one of the main landmarks of the city of Venice in northern Italy. The palace was the residence of the Doge of Venice, the authority of the former Republic of Venice. Today, it is one of the 11 museums run by the Fondazione Musei Civici di Venezia. In 810, Doge Angelo Partecipazio moved the seat of government from the island of Malamocco to the area of the present-day Rialto, when it was decided a palatium duci, a ducal palace, should be built. However, no remains of that 9th-century building as the palace was partially destroyed in the 10th century by a fire. The following reconstruction works were undertaken at the behest of Doge Sebastiano Ziani, a great reformer, he would drastically change the entire layout of the St. The new palace was built out of fortresses, one façade to the Piazzetta, political changes in the mid-13th century led to the need to re-think the palaces structure due to the considerable increase in the number of the Great Councils members. The new Gothic palaces constructions started around 1340, focusing mostly on the side of the building facing the lagoon, in 1483, a violent fire broke out in the side of the palace overlooking the canal, where the Doges Apartments were. Once again, an important reconstruction became necessary and was commissioned from Antonio Rizzo, another huge fire in 1547 destroyed some of the rooms on the second floor, but fortunately without undermining the structure as a whole. However, there are some classical features — for example, since the 16th century, as well as being the ducal residence, the palace housed political institutions of the Republic of Venice until the Napoleonic occupation of the city in 1797, when its role inevitably changed. Venice was subjected first to French rule, then to Austrian, over this period, the palace was occupied by various administrative offices as well as housing the Biblioteca Marciana and other important cultural institutions within the city. In 1923, the Italian State, owner of the building, since 1996, the Doge’s Palace has been part of the Venetian museums network, which has been under the management of the Fondazione Musei Civici di Venezia since 2008. The ground floor arcade and the loggia above are decorated with 14th- and 15th-century capitals, in 1438–1442, Giovanni Bon and Bartolomeo Bon built and adorned the Porta della Carta, which served as the ceremonial entrance to the building. In the space above the cornice, there is a portrait of the Doge Francesco Foscari kneeling before the St. This is, however, a 19th-century work by Luigi Ferrari, nowadays, the public entrance to the Doges Palace is via the Porta del Frumento, on the waterfront side of the building. The north side of the courtyard is closed by the junction between the palace and St, mark’s Basilica, which used to be the Doge’s chapel. At the center of the courtyard stand two well-heads dating from the mid-16th century, in 1485, the Great Council decided that a ceremonial staircase should be built within the courtyard. Since 1567, the Giants’ Staircase is guarded by Sansovino’s two colossal statues of Mars and Neptune, which represents Venice’s power by land and by sea, members of the Senate gathered before government meetings in the Senator’s Courtyard, to the right of the Giants’ Staircase
25.
Impressionism
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Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. The Impressionists faced harsh opposition from the art community in France. The development of Impressionism in the arts was soon followed by analogous styles in other media that became known as impressionist music. Radicals in their time, early Impressionists violated the rules of academic painting and they constructed their pictures from freely brushed colours that took precedence over lines and contours, following the example of painters such as Eugène Delacroix and J. M. W. Turner. They also painted scenes of modern life, and often painted outdoors. Previously, still lifes and portraits as well as landscapes were painted in a studio. The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air, the Impressionists, however, developed new techniques specific to the style. The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if the art critics and art establishment disapproved of the new style. In the middle of the 19th century—a time of change, as Emperor Napoleon III rebuilt Paris, the Académie was the preserver of traditional French painting standards of content and style. Historical subjects, religious themes, and portraits were valued, landscape, the Académie preferred carefully finished images that looked realistic when examined closely. Paintings in this style were made up of brush strokes carefully blended to hide the artists hand in the work. Colour was restrained and often toned down further by the application of a golden varnish, the Académie had an annual, juried art show, the Salon de Paris, and artists whose work was displayed in the show won prizes, garnered commissions, and enhanced their prestige. The standards of the juries represented the values of the Académie, represented by the works of artists as Jean-Léon Gérôme. In the early 1860s, four young painters—Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and they discovered that they shared an interest in painting landscape and contemporary life rather than historical or mythological scenes. A favourite meeting place for the artists was the Café Guerbois on Avenue de Clichy in Paris, where the discussions were led by Édouard Manet. They were soon joined by Camille Pissarro, Paul Cézanne, during the 1860s, the Salon jury routinely rejected about half of the works submitted by Monet and his friends in favour of works by artists faithful to the approved style. In 1863, the Salon jury rejected Manets The Luncheon on the Grass primarily because it depicted a woman with two clothed men at a picnic. While the Salon jury routinely accepted nudes in historical and allegorical paintings, the jurys severely worded rejection of Manets painting appalled his admirers, and the unusually large number of rejected works that year perturbed many French artists
26.
2012 Munich artworks discovery
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The apartment was rented to Cornelius Gurlitt, the son of celebrated art historian and dealer Hildebrand Gurlitt, and grandson of the art historian Cornelius Gurlitt. Some of the paintings were immediately suspected of having been looted by the Nazis during the Second World War, the collection is largely undamaged and of remarkable quality. Although German authorities seized the entire collection, Gurlitt was not detained, not until 3 November 2013 did the magazine Focus report the find. News of this extraordinary discovery provoked a worldwide sensation, Gurlitt initially refused to cooperate with German investigators. He retained several dozen additional suspect paintings, kept not in Munich but in his home in Salzburg, however, Gurlitt died only a month later, on 6 May 2014. In the 1920s and early 1930s, art collector Hildebrand Gurlitt held a number of positions within the German art, in 1930, he was removed as director of the museum in Zwickau because he exhibited contemporary artists. After the Nazis came to power, he was stripped of another job as a museum director because one of his grandmothers was a Jew and he subsequently moved the family to Dresden and built a prosperous business as an art dealer, specializing in modern art. Hildebrand was appointed as a dealer for the Führermuseum in Linz, on instructions from Reich Minister of Propaganda Joseph Goebbels, Hermann Göring personally appointed a Commission for the Exploitation of Degenerate Art. The Commission in turn appointed a series of dealers approved by the official Nazi confiscation service, four men who had been dealing in modern art for years were chosen, Karl Buchholz, Ferdinand Möller, Bernhard A. Böhmer and Hildebrand Gurlitt. They were instructed to sell these artworks abroad for foreign currency, hildebrands extensive network of European and North American art contacts proved invaluable. Göring used the funds raised to grow his personal art collection, among the works of so-called degenerate art that the Commission sold off were many paintings stolen from noted French art dealer Paul Rosenberg. Hildebrand acquired an additional 115 works of art in the same way in 1941. It is estimated that, at his height, he had a personal trading collection of more than 1,500 art objects. Gurlitt used his position to sell art to domestic collectors, most notably to Bernhard Sprengel and he claimed that most of his collection and all of his records had been destroyed at his home in Kaitzer Straße during the bombing of Dresden in February 1945. Hildebrand was specifically questioned only about the origins of some 200 paintings whose owners had been French and he stated that he had legally acquired them between 1942 and 1944 from a French art dealer in Paris. Hildebrand painted himself as a victim of Nazi persecution due to his Jewish heritage, still suspicious of his story, the U. S. Army investigated further, but nonetheless returned 206 items to Gurlitt on 15 December 1950. These included Max Liebermanns Two Riders On The Beach, Otto Dixs self-portrait, a painting by Marc Chagall,112 further paintings,19 drawings. Hildebrand Gurlitt continued trading artworks until his death in a car crash in 1956, since the reporting limit is €10,000, the sum in Gurlitts possession was perfectly legal
27.
Morgan Library & Museum
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It was founded to house the private library of J. P. Morgan in 1906, which included manuscripts and printed books, some of them in rare bindings, as well as his collection of prints and drawings. The library was designed by Charles McKim of the firm of McKim, Mead and White and it was made a public institution in 1924 by J. P. Morgans son John Pierpont Morgan, Jr. in accordance with his fathers will. The building was designated a New York City landmark in 1966 and was declared a National Historic Landmark later that same year, today the library is a complex of buildings which serve as a museum and scholarly research center. Her successor Frederick Baldwin Adams, Jr. managed the Library until 1969 and was also world-renowned for his own personal collections. Among the more famous manuscripts are the Morgan Bible, Morgan Beatus, Hours of Catherine of Cleves, Farnese Hours, Morgan Black Hours, and Codex Glazier. Other notable artists of the Morgan Library and Museum are Jean de Brunhoff, Paul Cézanne, Vincent van Gogh, John Leech, Gaston Phoebus, Rembrandt van Rijn, and John Ruskin. The Morgan has one of the worlds greatest collections of ancient Near Eastern cylinder seals and it also contains many music manuscripts and a considerable collection of Victoriana, including one of the most important collections of Gilbert and Sullivan manuscripts and related artifacts. Of interest to Australians is a copy of the written by Andrea Corsali from India in 1516. This letter, one of five in existence, contains the first description of the Southern Cross which is illustrated by Corsali in this letter. One other copy of the letter is in the British Museum, the fifth is in the Library of Princeton University. The letter is also available in Ramusios Viaggi, a compendium of letters of exploration. The first building constructed to house Morgans library – the McKim Building – was designed in the Classical Revival style by Charles Follen McKim of the firm of McKim. Morgan also commissioned a house to be built for his daughter a block away at the same time and it is located at 33 East 36th Street, which was at the time just to the east of Morgans residence, a brownstone house at 219 Madison Avenue built in 1880. McKim took his inspiration from the Villa Giulia and its Nymphaeum, also in the entrance are roundels and panels by Andrew OConnor and Adolph Weinman. The rotunda itself has a ceiling with murals and plasterwork inspired by Raphael. Morgans study, now the West Library, has called one of the greatest achievements of American interior decoration. The remaining Italianate brownstone house in the complex is 231 Madison Avenue. This house was built by Isaac Newton Phelps who bequeathed it to his daughter, Helen Stokes and she extended the building, doubling the size and adding an additional attic floor
28.
Westminster Bridge
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Westminster Bridge is a road-and-foot-traffic bridge over the River Thames in London, linking Westminster on the west side and Lambeth on the east side. The bridge is painted green, the same colour as the leather seats in the House of Commons which is on the side of the Palace of Westminster nearest to the bridge. This is in contrast to Lambeth Bridge, which is red, in 2005–2007, it underwent a complete refurbishment, including replacing the iron fascias and repainting the whole bridge. It links the Palace of Westminster on the west side of the river with County Hall, the next bridge downstream is the Hungerford footbridge and upstream is Lambeth Bridge. Westminster Bridge was designated a Grade II* listed structure in 1981, for over 600 years, the nearest bridge to London Bridge was at Kingston. A bridge at Westminster was proposed in 1664, but opposed by the Corporation of London, despite further opposition in 1722, and after a new timber bridge was built at Putney in 1729, the scheme received parliamentary approval in 1736. Financed by private capital, lotteries and grants, Westminster Bridge was built between 1739–1750, under the supervision of the Swiss engineer Charles Labelye, the City of London responded to Westminster Bridge by removing the buildings on London Bridge and widening it in 1760–63. The City also commenced work on the Blackfriars Bridge, which opened in 1769, other bridges from that time include Kew Bridge, Battersea Bridge, and Richmond Bridge. The bridge was required for traffic from the expanding West End to the developing South London as well as to south coast ports, without the bridge, traffic from the West End would have to negotiate the congested routes to London Bridge such as the Strand and New Oxford Street. Roads south of the river were also improved, including the junction at the Elephant & Castle in Southwark, by the mid–19th century the bridge was subsiding badly and expensive to maintain. The current bridge was designed by Thomas Page and opened on 24 May 1862, with a length of 820 feet and a width of 85 feet, it is a seven-arch, cast-iron bridge with Gothic detailing by Charles Barry. It is the oldest road bridge across the Thames in central London, on 22 March 2017, a terrorist attack started on the bridge and continued into Bridge Street and Old Palace Yard. Five people - three pedestrians, one officer, and the attacker - died as a result of the incident. A colleague of the officer was armed and shot the attacker, more than 50 people were injured. An investigation is ongoing by the Metropolitan Police, in the 2002 British horror film 28 Days Later, the protagonist awakes from a coma to find London deserted and walks over an eerily empty Westminster Bridge whilst looking for signs of life. Westminster Bridge is the start and finish point for the Bridges Handicap Race, william Wordsworth wrote the sonnet Composed upon Westminster Bridge, September 3,1802. In the finale of the 24th James Bond film Spectre, Blofelds helicopter crashes into Westminster Bridge, Westminster Bridge at Structurae Westminster Bridge at Structurae Interactive Panorama, Westminster Bridge
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Westminster Abbey
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It is one of the United Kingdoms most notable religious buildings and the traditional place of coronation and burial site for English and, later, British monarchs. Between 1540 and 1556, the abbey had the status of a cathedral, since 1560, however, the building is no longer an abbey nor a cathedral, having instead the status of a Church of England Royal Peculiar—a church responsible directly to the sovereign. The building itself is the abbey church. According to a tradition first reported by Sulcard in about 1080, a church was founded at the site in the 7th century, at the time of Mellitus, construction of the present church began in 1245, on the orders of King Henry III. Since the coronation of William the Conqueror in 1066, all coronations of English and British monarchs have held in Westminster Abbey. There have been at least 16 royal weddings at the abbey since 1100, two were of reigning monarchs, although, before 1919, there had been none for some 500 years. The first reports of the abbey are based on a tradition claiming that a young fisherman called Aldrich on the River Thames saw a vision of Saint Peter near the site. This seems to be quoted to justify the gifts of salmon from Thames fishermen that the abbey received in later years, in the present was, the Fishmongers Company still gives a salmon every year. The proven origins are that in the 960s or early 970s, Saint Dunstan, assisted by King Edgar, between 1042 and 1052, King Edward the Confessor began rebuilding St Peters Abbey to provide himself with a royal burial church. It was the first church in England built in the Romanesque style, the building was completed around 1090 and was consecrated on 28 December 1065, only a week before Edwards death on 5 January 1066. A week later, he was buried in the church, and, nine years later and his successor, Harold II, was probably crowned in the abbey, although the first documented coronation is that of William the Conqueror later the same year. The only extant depiction of Edwards abbey, together with the adjacent Palace of Westminster, is in the Bayeux Tapestry, construction of the present church was begun in 1245 by Henry III who selected the site for his burial. The abbot and monks, in proximity to the royal Palace of Westminster, the abbot often was employed on royal service and in due course took his place in the House of Lords as of right. The abbey built shops and dwellings on the west side, encroaching upon the sanctuary, the abbey became the coronation site of Norman kings. The Confessors shrine subsequently played a part in his canonisation. The work continued between 1245 and 1517 and was finished by the architect Henry Yevele in the reign of Richard II. Henry III also commissioned the unique Cosmati pavement in front of the High Altar, Henry VII added a Perpendicular style chapel dedicated to the Blessed Virgin Mary in 1503. Much of the came from Caen, in France, the Isle of Portland
30.
Order of the Bath
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The Most Honourable Order of the Bath is a British order of chivalry founded by George I on 18 May 1725. The name derives from the medieval ceremony for appointing a knight. The knights so created were known as Knights of the Bath, George I erected the Knights of the Bath into a regular Military Order. Prior to 1815, the order had only a class, Knight Companion. Recipients of the Order are now usually senior officers or senior civil servants. Commonwealth citizens who are not subjects of the Queen and foreign nationals may be made Honorary Members, in the Middle Ages, knighthood was often conferred with elaborate ceremonies. These usually involved the taking a bath during which he was instructed in the duties of knighthood by more senior knights. He was then put to bed to dry, clothed in a special robe, he was led with music to the chapel where he spent the night in a vigil. At dawn he made confession and attended Mass, then retired to his bed to sleep until it was fully daylight, in the early medieval period the difference seems to have been that the full ceremonies were used for men from more prominent families. Knights Bachelor continued to be created with the form of ceremony. The last occasion on which Knights of the Bath were created was the coronation of Charles II in 1661. From at least 1625, and possibly from the reign of James I, Knights of the Bath were using the motto Tria iuncta in uno, and wearing as a badge three crowns within a plain gold oval. These were both adopted by the Order of the Bath, a similar design of badge is still worn by members of the Civil Division. Their symbolism however is not entirely clear, the three joined in one may be a reference to the kingdoms of England, Scotland and either France or Ireland, which were held by English and, later, British monarchs. This would correspond to the three crowns in the badge, another explanation of the motto is that it refers to the Holy Trinity. The prime mover in the establishment of the Order of the Bath was John Anstis, Garter King of Arms, the Court remained the centre of the political world. The King was limited in that he had to choose Ministers who could command a majority in Parliament, the leader of an administration still had to command the Kings personal confidence and approval. A strong following in Parliament depended on being able to supply places, pensions, the attraction of the new Order for Walpole was that it would provide a source of such favours to strengthen his political position
31.
Grand Tour
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The custom flourished from about 1660, until the advent of large-scale rail transport in the 1840s, and was associated with a standard itinerary. It served as a rite of passage. With nearly unlimited funds, aristocratic connections and months to roam, they commissioned paintings, perfected their language skills, in addition, it provided the only opportunity to view specific works of art, and possibly the only chance to hear certain music. A Grand Tour could last from months to several years. It was commonly undertaken in the company of a Cicerone, a guide or tutor. The legacy of the Grand Tour lives on to the day and is still evident in works of travel. In essence, the Grand Tour was neither a scholars pilgrimage nor a one, though a pleasurable stay in Venice. Catholic Grand Tourists followed the routes as Protestant Whigs. Pompeo Batoni made a career of painting English milordi posed with graceful ease among Roman antiquities, many continued on to Naples, where they viewed Herculaneum and Pompeii, but few ventured far into southern Italy or Malta, and fewer still to Greece, still under Turkish rule. Rome for many centuries had been the goal of pilgrims, especially during Jubilee when they visited the Seven Pilgrim Churches of Rome. This is partly because he asked Inigo Jones, not yet established as an architect but already known as a traveller and masque designer. Larger numbers of tourists began their tours after the Peace of Münster in 1648, lasselss introduction listed four areas in which travel furnished an accomplished, consummate Traveller, the intellectual, the social, the ethical, and the political. The idea of travelling for the sake of curiosity and learning was an idea in the 17th century. Thus, one could use up the environment, taking from it all it offers, travel, therefore, was necessary for one to develop the mind and expand knowledge of the world. Consciously adapted for intellectual self-improvement, Gibbon was revisiting the Continent on a larger and more liberal plan, the typical 18th-century sentiment was that of the studious observer travelling through foreign lands reporting his findings on human nature for those unfortunate enough to have stayed home. Recounting ones observations to society at large to increase its welfare was considered an obligation, the Grand Tour offered a liberal education, and the opportunity to acquire things otherwise unavailable at home, lending an air of accomplishment and prestige to the traveller. The trappings of the Grand Tour, especially portraits of the traveller painted in iconic continental settings, became the obligatory emblems of worldliness, gravitas, the less well-off could return with an album of Piranesi etchings. The perhaps in Gibbons opening remark cast a shadow over his resounding statement
32.
War of the Austrian Succession
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The War of the Austrian Succession involved most of the powers of Europe over the question of Maria Theresas succession to the Habsburg Monarchy. The war included King Georges War in British America, the War of Jenkins Ear, the First Carnatic War in India, the Jacobite rising of 1745 in Scotland, and the First and Second Silesian Wars. Austria was supported by Great Britain and the Dutch Republic, the enemies of France, as well as the Kingdom of Sardinia. France and Prussia were allied with the Electorate of Bavaria, the war ended with the Treaty of Aix-la-Chapelle in 1748, by which Maria Theresa was confirmed as Archduchess of Austria and Queen of Hungary, but Prussia retained control of Silesia. But the peace was soon to be shattered, when Austrias desire to recapture Silesia intertwined with the political changes in Europe. In 1740, after the death of her father, Charles VI, Maria Theresa succeeded him as Queen of Hungary, Croatia and Bohemia, Archduchess of Austria and Duchess of Parma. The complications involved in a female Habsburg ruler had been long foreseen, problems began when King Frederick II of Prussia violated the Pragmatic Sanction and invaded Silesia on 16 December 1740, using the 1537 Treaty of Brieg as a pretext. For much of the century, France approached its wars in the same way. It would let its colonies defend themselves, or would offer only minimal help, similarly, several long land borders made an effective domestic army imperative for any ruler of France. At the end of the war, France gave back its European conquests, the British—by inclination as well as for pragmatic reasons—had tended to avoid large-scale commitments of troops on the Continent. For the War of the Austrian Succession, the British were allied with Austria, by the time of the Seven Years War, they were allied with its enemy, Prussia. In marked contrast to France, Britain strove to prosecute the war in the colonies once it became involved in the war. The British pursued a strategy of naval blockade and bombardment of enemy ports. They would harass enemy shipping and attack enemy outposts, frequently using colonists from nearby British colonies in the effort and this plan worked better in North America than in Europe, but set the stage for the Seven Years War. Prince Frederick had been only 28 years of age on 31 May 1740 when his father, Frederick William I died, neither Frederick nor his father had ever been fond of Austria and its various snubs against Prussia. Emperor Charles VI had made provision for the succession of his daughter, in support of his invasion of Silesia, Frederick also used a questionable interpretation of a treaty between the Hohenzollerns and the Piasts of Brieg as pretext. In particular, Frederick feared that Augustus III, Elector of Saxony and King of Poland, was preparing to seize Silesia for himself to unite Saxony and Poland. The only recent combat experience of the Prussian Army was their participation in the War of the Polish Succession, accordingly, the Prussian Army had an uninspiring reputation and was counted as one of the many minor armies of the Holy Roman Empire
33.
Old Walton Bridge
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Old Walton Bridge is the name given to the first Walton Bridge built across the River Thames between Walton-on-Thames and Shepperton in Surrey, England. The wooden bridge was completed in 1750, was painted by Canaletto and stood until 1783 when, in decay, it was dismantled to make way for a stone-clad brickwork replacement, later painted by Turner. Construction of the bridge by a Mr White of Weybridge was started in 1748 and was completed in 1750, the construction was paid for by Samuel Dicker who was the MP for Plymouth and owned property in Walton on Thames. By paying for its construction Dicker also obtained the right to collect tolls from users of the bridge under the statute, first constructed between 1749 and 1750, this bridge still stands, although it has been rebuilt twice, most recently in 1905. The Old Walton Bridge was supported by four stone piers connected by three arches built of wooden beams and joists. The span of the arch was 130 feet, at the time the widest unsupported span in England. The other two arches were each 44 feet, though Dicker later suggested that the design would have allowed for side spans of 70 ft or more. Away from the water were five further small brickwork arches on each side of the river, on the strength of their success with Walton Bridge Etheridge and Dicker put forward two proposals for a bridge at Blackfriars, one for building in stone and the other in timber. The stone-built proposal was accepted but several changes to Etheridges design lead to him leaving the project before it was completed, although considered an impressive feat of engineering at the time of its construction, the bridge stood for only 33 years. Dicker died in London in 1760 and his estates in the area were sold, the bridge passed to his nephew, Michael Dicker Sanders, but he found it difficult to meet the costs of its upkeep. Canaletto spent time in England between 1746 and 1755, mostly in London, but at some time after 1750 he travelled out to Walton to produce a painting of the bridge. He had previously depicted one of Etherbridges constructions in 1747 as the span of The City Seen Through an Arch of Westminster Bridge. Normally the figures populating his landscapes were anonymous, but his painting of the bridge is unusual because the identities of several of the figures are known. It is likely that Hollis selected the image from a sketch in Canalettos portfolio, to Hollis right is Thomas Brand, his lifelong friend and heir. Further to the right, dressed in livery, is Hollis servant, Francesco Giovannini. Seated a little distance from the group on the left is an artist thought to be Canaletto himself. In the river a ship is lowering its sail in order to pass under the bridge, the painting is normally kept by the Dulwich Picture Gallery. A Biographical Dictionary of Civil Engineers in Great Britain and Ireland, conservation of Bridges, A Guide to Good Practice
34.
George Vertue
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George Vertue was an English engraver and antiquary, whose notebooks on British art of the first half of the 18th century are a valuable source for the period. Vertue was born in 1684 in St Martins-in-the-Fields, London, his father, perhaps a tailor, at the age of 13, he was apprenticed to a prominent heraldic engraver of French origin who became bankrupt and returned to France. Vertue worked seven years under Michael Vandergucht, before operating independently and he was amongst the first members of Godfrey Knellers London Academy of Painting, who had employed him to engrave portraits. It was there that he became a pupil of Thomas Gibson, Vertue had a deep interest in antiquarian research, and much of his labour was given to this subject. From 1713 on, Vertue was a researcher on details of the history of British art. He was a member of the Rose and Crown Club, with William Hogarth, Peter Tillemans and other artists and connoisseurs and his travels to sites across England, with enthusiasts such as Edward Harley, Lord Coleraine and others, were recorded in Vertues highly detailed drawings and notes. In 1717 he was appointed engraver to the Society of Antiquaries. Most of the illustrations in Vetusta Monumenta, up to his date of death, are his work, after the death of the Earl of Oxford in 1741, Vertue was patronised by the Duchess of Portland and others. The Duke of Norfolk commissioned a work after Van Dyck of the Earl of Arundel and he produced a catalogue detailing the collections of the royal family, at the request of Frederick, Prince of Wales, an avid buyer of the engravers work. A portrait of Vertue was painted in 1715 by Gibson, his widow donated this to The Society of Antiquaries, Vertue had produced an engraving of this. A later painting, of the artist aged around 50, by Jonathan Richardson was acquired by the National Portrait Gallery, another self-portrait, with his wife on their wedding-day, was etched by William Humphrey. Richardson also drew the profile used in James Basires plate in Nicholss Literary Anecdotes, Vertue died in London on 24 July 1756 and was buried in Westminster Abbey. Vertues brother James was an artist in Bath who produced the view of the abbey that was engraved by him. The second of his three brothers, Peter, was a master of Chelmsford. Approximately five hundred portraits are attributed to Vertue, a number of published plates were devoted to antiquarian subjects. Many of the portraits were printed as frontispieces, most are regarded as accurate representations of the subject, twelve Heads of Poets, set of plates issued 1730 Rapins History of England, Knapton Brothers edition,1736. A task that took three years, the same publisher commissioned plates for Thomas Birchs Heads of Illustrious Persons, though his contribution is submerged by the popularity of Houbrakens brilliant but less truthful productions. The copperplates of these were acquired by the Society of Antiquaries and his publications include A Description of the Works of Wenceslaus Hollar,1745, and Medals, Coins, Great Seals, Impressions from the Works of Thomas Simon,1753
35.
Gallerie dell'Accademia
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The Gallerie dellAccademia is a museum gallery of pre-19th-century art in Venice, northern Italy. It is housed in the Scuola della Carità on the bank of the Grand Canal. The two institutions remained in the building until 2004, when the art school moved to the Ospedale degli Incurabili. The Accademia di Belle Arti di Venezia was founded on 24 September 1750, the first director was Giovanni Battista Piazzetta, Gianbattista Tiepolo became the first president after his return from Würzburg. It was one of the first institutions to study art restoration starting in 1777 with Pietro Edwards, in 1807 the academy was re-founded by Napoleonic decree. The collections of the Accademia were first opened to the public on 10 August 1817, the Gallerie dellAccademia became independent from the Accademia di Belle Arti di Venezia in 1879. Like other state museums in Italy, it falls under the Ministero per i Beni e le Attività Culturali, the Napoleonic administration had disbanded many institutions in Venice including some churches, convents and Scuole. The Scuola della Carità, the Convento dei Canonici Lateranensi and the church of Santa Maria della Carità thus became the home of the Accademia. The Scuola della Carità was the oldest of the six Scuole Grandi, the Convento dei Canonici Lateranensi was started in 1561 by Andrea Palladio, though it was never fully completed. The facade of Santa Maria della Carità was completed in 1441 by Bartolomeo Bon, the Gallerie dell’Accademia contains masterpieces of Venetian painting up to the 18th century, generally arranged chronologically though some thematic displays are evident. Media related to Gallerie dellAccademia at Wikimedia Commons
36.
Bernardo Bellotto
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Bernardo Bellotto, also called Canaletto, was an Italian urban landscape painter or vedutista, and printmaker in etching famous for his vedute of European cities. He was the pupil and nephew of Canaletto and sometimes used the latters illustrious name, in Germany and Poland, Bellotto called himself by his uncles name, Canaletto. Bellottos style was characterized by elaborate representation of architectural and natural vistas and it is plausible that Bellotto, and other Venetian masters of vedute, may have used the camera obscura in order to achieve superior precision of urban views. Bellotto was born in Venice, the son of Lorenzo Antonio Bellotto and Fiorenza Canal, sister of the famous Canaletto, in 1742 he moved to Rome, where he produced vedute of that city. In 1744 and 1745 he traveled northern Italy, again depicting vedute of each city, among others, he worked for Charles Emmanuel III of Savoy. From 1747 to 1758 he moved to Dresden, following an invitation from King August III of Poland and he created paintings of the cities Dresden and Pirna and their surroundings. Today these paintings preserve a memory of Dresdens former beauty, which was destroyed by bombing during World War II and his international reputation grew, and in 1758 he accepted an invitation from Empress Maria Theresa to come to Vienna, where he painted views of the citys monuments. In 1761 Bellotto left Vienna for Munich, where he spent almost a year, in a letter to her cousin Maria Antonia of Bavaria, Empress Maria Theresia had praised Bellottos artistic achievements at the Viennese court. Logically, he was commissioned works by the family of Bavaria. He painted a view of Munich and two vedute of Nymphenburg Palace for the elector of Bavaria. At the end of 1761, Bellotto returned to Dresden, when King August III of Poland, also an Elector of Saxony, who usually lived in Dresden, died in 1763, Bellottos work became less important in Dresden. As a consequence, he left Dresden to seek employment in Saint Petersburg at the court of Catherine II of Russia. On his way to Saint Petersburg, however, Bellotto accepted an invitation in 1764 from Polands newly elected King Stanislaus Augustus Poniatowski to become his court painter in Warsaw from 1768, Maria Maggiore and in private collections. His colouring is colder and characterized by a steely grey, Bellotto created a school of painting which was later continued and developed by Zygmunt Vogel and Marcin Zaleski. Bernardo Bellotto died in Warsaw in 1780 and was buried in Capuchin Church at Miodowa Street and his younger brother was named Pietro Bellotto and after collaborating with Canaletto and his brother, moved to France, where he was known as le Sieur Canalety and Pietro Bellotti di Caneletty. The brother was also referred to as Belloti, Belloty, Beloty, Bernardo Bellotto and His Circle in Italy. Part I, Not Canaletto but Bellotto, belotto Bernardo, zwany Canaletto, Encyklopedia Polski, p.42. STEPHANE LOIRE, HANNA MALACHOWICZ, KRZYSTOF POMIAN, ANDRZEJ ROTTERMUND, Bernardo Bellotto, Un pittore veneziano a Varsavia
37.
Francesco Guardi
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Francesco Lazzaro Guardi was an Italian painter of veduta, nobleman, and a member of the Venetian School. He is considered to be among the last practitioners, along with his brothers, in the early part of his career he collaborated with his older brother Gian Antonio in the production of religious paintings. After Gian Antonios death in 1760, Francesco concentrated on veduta, the earliest of these show the influence of Canaletto, but he gradually adopted a looser style characterized by spirited brush-strokes and freely imagined architecture. Francesco Guardi was born in Venice into a family of nobility from Trentino and his father Domenico and his brothers Niccolò and Gian Antonio were also painters, later inheriting the family workshop after the fathers death in 1716. They probably all contributed as a team to some of the larger commissions later attributed to Francesco and his sister Maria Cecilia married the pre-eminent Veneto-European painter of his epoch, Giovanni Battista Tiepolo. In 1735, Guardi moved to the workshop of Michele Marieschi and his first certain works are from 1738, for a parish at Vigo dAnuania, in Trentino. In this period he worked alongside his brother, Gian Antonio. The first work signed by Francesco is a Saint Adoring the Eucarist and his works in this period included both landscapes and figure compositions. His early vedutas show influence both from Canaletto and Luca Carlevarijs, on February 15,1757, he married Maria Mattea Pagani, the daughter of painter Matteo Pagani. In 1760 his brother Gian Antonio died and his first son and his second son, Giacomo, was born in 1764. In 1763 he worked in Murano, in the church of San Pietro Martire, Francesco Guardis most important later works include the Doges Feasts, a series of twelve canvases celebrating the ceremonies held in 1763 for the election of Doge Alvise IV Mocenigo. In his later years, Canalettos influence on his art diminished, in circa 1778, he painted the severe Holy Trinity Appearing to Sts. Peter and Paul in the church of Roncegno. In 1782 Guardi was commissioned by the Venetian government six canvases to celebrate the visit of the Russian Archdukes in the city, on September 12 of that year he was admitted to the Fine Art Academy of Venice. A stronger attention to colours is present in works such as the Concerto of 80 Orphans of 1782, now in Munich. Guardi died at Campiello de la Madona in Cannaregio in 1793, to quote from the Web Gallery of Art, Perspective, organized aerial space, the Palladian solidity of Tiepolo. Are exchanged for a style of coloured handwriting - now brilliantly calligraphic. Guardis painterly style is known as pittura di tocco for its small dotting and this looser style of painting had been used by Giovanni Piazzetta and Sebastiano Ricci, and recalls, in some religious themes, the sweetened sfumato of Baroccis Bolognese style
38.
Michele Marieschi
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Michele Marieschi or Michele Giovanni Marieschi, also Michiel, also known as Michiel, was an Italian painter and engraver. He is mainly known for his landscapes and cityscapes, or views and he also created architectural paintings, which reveal his interest in stage design. Marieschi was born in Venice in 1710 as the son of a woodcarver, according to his biography in Pellegrino Antonio Orlandis Abecedario Pittorico, published in Venice in 1753, he spent some time in Germany, where he may have worked as a stage designer. He returned to Venice in about 1735, under the influence of Marco Ricci and Luca Carlevarijs and encouraged by the success of Canaletto in the genre, he started to create capricci and vedute. Between 1735 and 1741 he was registered in the Venetian Fraglia de Pittori, one of Marieschis sponsors at his wedding in 1737 was Gaspare Diziani. Although he initially produced capricci, he painted more topographically accurate vedute. One of his patrons was the noted collector Johann Matthias von der Schulenburg, michael Levey contrasts Marieschis style with Canalettos, noting that Marieschis use of paint is livelier and fresher. Links, J. G. Canaletto and his Patrons, Michiel Marieschi with Catalogue of the Etchings. Media related to Michele Marieschi at Wikimedia Commons www. artistarchive. com A catalogue of the 21 plates from Magnificentiores Selectioresque Urbis Venetiarum Prospectus, Canaletto, a full text exhibition catalog from The Metropolitan Museum of Art, which contains material on Marieschi
39.
Giuseppe Moretti
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Giuseppe Moretti was an Italian émigré sculptor who became known in America for his public monuments in bronze and marble. Most notable among his works is Vulcan in Birmingham, Alabama, on a personal level, Moretti was known for his eclectic personality and for always wearing a green tie, but professionally, is claimed to be the first man to use aluminum in art. Moretti enjoyed some celebrity in his lifetime, and was a friend of famed Italian tenor Enrico Caruso and it is even reported that the singer repeatedly praised Morettis voice. Giuseppe Moretti was born in Siena, Italy, on 3 February 1857, the nephew of Vincenzo Cardinal Moretti, a noted art patron. He began studying marble sculpting at the age of 9 with the monks of San Domenico and with sculptor Tito Serrochi, Morettis precocious nature is emphasized in an anecdote about his early fascination with becoming an artist. Apparently aware that distant Florence was the nexus of Italian art, an alert neighbor returned the would-be runaway, and soon after, Moretti was placed under the tutelage of Serrochi. Moretti later studied at the Accademia di Belle Arti di Firenze, intrigued by the medium of marble, Moretti moved to Carrara to perfect his skill. In about 1879, a Dalmatian sculptor, Ivan Rendić, who saw his work was impressed and invited Moretti to assist him in his studio in Zagreb, Moretti set up shop in Zagreb and made several important commissions before a large earthquake devastated the area. Morettis next residence was in Budapest, Hungary, where he executed works to commemorate the citys history. Moretti arrived in New York City and opened a studio, soon, Moretti was working on his first commission in America, sculpture for Marble House, the seasonal residence of William K. and Alva Vanderbilt in Newport, Rhode Island. After working on the Vanderbilt estate, Moretti became well known in Pittsburgh, Pennsylvania, Edward Bigelow, Pittsburghs director of public works commissioned Moretti in 1885 for works in Schenley Park. Moretti immediately recognized the potential of Pittsburghs rugged terrain for such a vast project, arthur Hamerschlag, the first president of the Carnegie Institute of Technology, also did much to popularize Morettis work in Pittsburgh. When Bigelow failed to get reelected, Morettis commission was discarded by the new city officers, however, in two years the company collapsed and Pivo withdrew support. Yet Bertelli bought out Morettis share, reorganized the business, despite his financial misdealings, Moretti retained his reputation as an artist, and soon won his most famous commission from James A. MacKnight, secretary of Birmingham, Alabamas Commercial Club. Moretti agreed to charge only $6,000 for the plaster model of Vulcan. Moretti created the model in New York City and moved to Alabama to work on the sculpture in 1904, in 1907, he took Geneva Mercer of Alabama on as an apprentice. She served as his apprentice until 1909, after which she stayed on as his assistant until his death in 1935, having discovered Alabamas rich marble deposits, Moretti made it a personal goal to institute proper mining procedures for the material. Circa 1911–14, Moretti and Mercer worked together on their greatest achievement, Moretti moved around east of the Mississippi frequently after 1916, returning to Pittsburgh, where he established a permanent residence and studio on Bigelow Boulevard
40.
Giuseppe Bernardino Bison
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Giuseppe Bernardino Bison was an itinerant Italian painter of frescoes, landscapes, vedute, capriccios and some religious works. When he was still a boy, his family moved to Brescia, later, his family moved again, to Venice, and he began his studies with Anton Maria Zanetti, then enrolled at the Accademia di Belle Arti di Venezia, where he worked with Costantino Cedini. While there, he became friends with the architect Gian Antonio Selva, shortly after, he was in Padua, working as a set designer for the Obizzi family and, in 1790, was commissioned to do decorations for the Castello del Catajo. From 1798 to 1800, he collaborated with Selva on decorations at the Palazzo Dolfin Manin in Venice, moving on to Trieste, he collaborated with Matteo Pertsch and the sculptor Antonio Bosa to provide decorations for the Palazzo Carciotti and the stock exchange building. In 1811, he was in Zara, working at the Palazzo del Governatore and this was followed by decorative work at the theaters in Vipacco and Gorizia. His canvases were expensive, but also very large
41.
Wallace Collection
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The collection opened to permanent public view in 1900 in Hertford House, and remains there to this day. A condition of the bequest was that no object should ever leave the collection, the Wallace Collection is a non-departmental public body. The Collection numbers nearly 5,500 objects and is best known for its quality and breadth of eighteenth-century French paintings, Sèvres porcelain and French furniture. His father Edward Seymour, 1st Duke of Somerset, brother of Queen Jane Seymour, had started building the palatial Somerset House on the Strand as his townhouse, the present House in Manchester Square was the townhouse of a later branch of the family. The Wallace Restaurant is now run by Peyton and Byrne as a French-style brasserie, the Wallace Collections Old Master paintings represent some of the finest works of art in the world, executed by most of the leading artists of their period. The paintings include important works from all periods between the fourteenth to the mid-nineteenth century, strengths of the collection include examples by Rembrandt, Rubens, Van Dyck, Canaletto, Gainsborough, François Boucher, Fragonard, Murillo, Titian, Poussin and Velázquez. The inventory of pictures, watercolours and drawings comprises all the major European schools. M. W, the Wallace Collection contains the richest and most distinguished museum collections of eighteenth-century Sèvres porcelain in the world. It includes 137 vases,80 tea wares,67 useful wares,3 biscuit figures and 130 plaques, one highlight of the collection is the major collection of furniture attributed to André-Charles Boulle, perhaps the best-known cabinet-maker ever to have lived. Joseph Baumhauer –1 item, Bas darmoire, c, 1765–1770, André-Charles Boulle –22 items, Armoire, c. 1700–10, Cabinet avec son pied, c,1667, Cartonnier et pendule, c.1715, Commode, c. 1710, Paire de grande table, c,1713, Paire de coffre de toilette, c. 1720–25, Table à mettre dans un trumeau, c,1705, Martin Carlin –4 items, Paire de Encoignures, c. 1783, Adrien Delorme –2 items, Paire de bibliothèque basse Étienne Doirat –1 item, Commode,1720, Étienne Levasseur –5 items, Grande Bibliothèque, c. 1775, Paire de bibliothèque basse, c.1775 Paire de meubles à hauteur deappui, c.1775 Alexandre-Jean Oppenord –3 items, Bureau plat,1710, Commode, c. 1710, Jean Henri Riesener –10 items, Commode, delivered to Marie-Antoinettes cabinet intérieur de la reine at Versailles,1780, Commode, delivered to Marie-Antoinette for Chateau de Marly, c. 1782, Encoignure, delivered to Marie-Antoinettes cabinet intérieur at Versailles,1783, Secrétaire à abattant, delivered to Marie-Antoinettes cabinet intérieur at Versailles, c. 1783, Secrétaire à abattant, delivered to Marie-Antoinettes Petit Triannon at Versailles,1783, Secrétaire à abattant, delivered to Marie-Antoinettes cabinet intérieur at Versailles, c. 1780, Bureau à cylindre, delivered to the comte dOrsay for the Hôtel dOrsay, 1785–90 Media related to Wallace Collection at Wikimedia Commons Official website
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Woburn Abbey
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Woburn Abbey occupying the east of the village of Woburn, Bedfordshire, England, is a country house, the family seat of the Duke of Bedford. Woburn Abbey, comprising Woburn Park and its buildings, was set out, taken from its monastic residents by Henry VIII and given to John Russell, 1st Earl of Bedford, in 1547, it became the seat of the Russell family and the Dukes of Bedford. The Abbey was largely rebuilt starting in 1744 by the architects Henry Flitcroft, anna Russell, Duchess of Bedford, originated the afternoon tea ritual in 19th-century England. In April 1786 John Adams visited Woburn Abbey and other houses in the area. After visiting them he wrote in his diary Stowe, Hagley, and Blenheim, are superb, Woburn, Caversham, wotton is both great and elegant, though neglected. Following World War II, dry rot was discovered and half the Abbey was subsequently demolished, when the 12th Duke died in 1953, his son the 13th Duke was exposed to heavy death duties and the Abbey was a half-demolished, half-derelict house. Instead of handing the family estates over to the National Trust, he kept ownership and it soon gained in popularity as other amusements were added, including Woburn Safari Park on the grounds of the Abbey in 1970. The 13th Duke moved to Monte Carlo in 1975 and his son Robin, who enjoyed the courtesy title Marquess of Tavistock, ran the Abbey with his wife in his fathers absence. In the early 1990s, the Marquess and The Tussauds Group planned to turn the Abbey into a theme park with the help of John Wardley, creator of the roller coasters Nemesis. However, Tussauds bought Alton Towers and built one there instead and it detailed the daily life and the business of running the Abbey. It inspired several Monarch of the Glen storylines, the Marquess of Tavistock became the 14th Duke on the death of his father in November 2002 in Santa Fe, New Mexico, United States. The 14th Duke was the briefest holder of the Dukedom and died in June 2003, on the death of the 14th Duke, his son Andrew became the 15th Duke, and he continues his fathers work in running the Woburn Abbey Estate. The building is listed in the highest category of architecture at Grade I, the art collection of the Duke of Bedford is amongst the finest in private hands, and encompasses a wide range of western artwork. The holdings comprise some 250 paintings, including works by Rubens, Van Dyck, Canaletto, moreover, the collection encompasses examples of the most expensive manufacturers of furniture, French and English in many periods, and a diverse collection of porcelain and silverware. In May 1973, scenes from Coronation Street were set there and he played himself greeting the characters, one of them, Hilda Ogden, was very impressed with the Canney-Letty room. The Childrens Film Foundation made a movie in 1957 called Five Clues to Fortune aka The Treasure at Woburn Abbey, director Joe Mendoza filmed in and around Woburn Abbey and the Wildlife Park. In 1977 and again in 2003 singer Neil Diamond held a series of concerts on the front lawn of the Abbey, the 1977 concerts were a part of a television programme broadcast in the United States. In film and television, Woburn Abbey has been used as a location for films and programmes including The Iron Maiden, The Flower of Gloster
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Earl of Carlisle
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Earl of Carlisle is a title that has been created three times in the Peerage of England. The first creation came in 1322 when the soldier Andrew Harclay and he had already been summoned to Parliament as Lord Harclay in 1321. However, in 1322 Lord Carlisle was executed for treason with his titles forfeited, the second creation came in 1622 when James Hay, 1st Viscount Doncaster, was made Earl of Carlisle. He was a favourite of James I and had already been created Lord Hay in the Peerage of Scotland in 1606 and Baron Hay, of Sawley in the County of York. The latter titles were in the Peerage of England, Lord Carlisle was the member of a junior branch of the Hay family headed by the Earl of Erroll. He was succeeded by his second but only surviving son, the second Earl, in 1637 he also succeeded his maternal grandfather Charles Goring, 2nd Earl of Norwich, as second Baron Denny. However, Carlisle was childless and on his death in 1660 all the titles became extinct. The third creation came in 1660 when Sir Charles Howard was made Baron Dacre of Gillesland, in the County of Cumberland, Viscount Howard of Morpeth, in the County of Cumberland, and Earl of Carlisle. A member of the famous Howard family, he was the great-grandson of Lord William Howard, third son of Thomas Howard, Lord William Howards wife was Elizabeth, daughter of Thomas Dacre, 4th Baron Dacre. Through this marriage Naworth Castle and Henderskelfe came into the Howard family, Lord Carlisle had earlier supported the Parliamentarian cause in the Civil War, and is supposed to have been created Baron Gilsland and Viscount Howard of Morpeth by Oliver Cromwell in 1657. He was succeeded by his eldest son, the second Earl and he represented Morpeth, Cumberland and Carlisle in the House of Commons and served as Lord Lieutenant of Cumberland. On his death the titles passed to his son, the third Earl and he was a prominent statesman and served as First Lord of the Treasury from 1701 to 1702 and in 1715. His third but eldest surviving son, the fourth Earl, sat as Member of Parliament for Morpeth and he was succeeded by his eldest son from his second marriage, the fifth Earl. He was also a politician and held office as First Lord of Trade, as Lord Lieutenant of Ireland, as Lord Steward of the Household. His eldest son, the sixth Earl, also gained political prominence and he served as First Commissioner of Woods and Forests and as Lord Privy Seal and was Minister without Portfolio between 1830 and 1834 in the famous Whig government of Lord Grey. He was succeeded by his eldest son, the seventh Earl and he was also a noted politician and served as Chief Secretary for Ireland, as Chancellor of the Duchy of Lancaster and as Lord Lieutenant of Ireland. He never married and was succeeded by his brother, the eighth Earl. He was a clergyman and served as Rector of Londesborough in Yorkshire and he also died unmarried and was succeeded by his nephew, the ninth Earl
44.
Castle Howard
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Castle Howard is a stately home in North Yorkshire, England,15 miles north of York. It is a residence, and has been the home of the Carlisle branch of the Howard family for more than 300 years. Castle Howard is not a castle, but this term is also used for English country houses erected on the site of a former military castle. It was where the Earl of Sandwich lived for a long time and it is familiar to television and film audiences as the fictional Brideshead, both in Granada Televisions 1981 adaptation of Evelyn Waughs Brideshead Revisited and a two-hour 2008 remake for cinema. Today, it is part of the Treasure Houses of England group of heritage houses, building of Castle Howard began in 1699 and took over 100 years to complete to a design by Sir John Vanbrugh for the 3rd Earl of Carlisle. The estate was served by its own station, Castle Howard. After the death of the 9th Earl in 1911, Castle Howard was inherited by his younger son Geoffrey, in 1952, the house was opened to the public by the then owner, George Howard, Baron Howard of Henderskelfe. It is owned by Castle Howard Estate Ltd and run by Nicholas, in 2003, the grounds were excavated over three days by Channel 4s Time Team, searching for evidence of a local village lost to allow for the landscaping of the estate. The 3rd Earl of Carlisle first spoke to William Talman, an architect, but commissioned Vanbrugh. Castle Howard was that gentleman-dilettantes first foray into architecture, but he was assisted by Nicholas Hawksmoor, Vanbrughs design evolved into a Baroque structure with two symmetrical wings projecting to either side of a north-south axis. The crowning central dome was added to the design at a late stage, all are exuberantly decorated in Baroque style, with coronets, cherubs, urns and cyphers, with Roman Doric pilasters on the north front and Corinthian on the South. Many interiors were decorated by Giovanni Antonio Pellegrini, the Earl then turned his energies to the surrounding garden and grounds. The house remained incomplete on the death of the 3rd Earl in 1738, however, Vanbrughs design was not completed, the West Wing was built in a contrasting Palladian style to a design by the 3rd Earls son-in-law, Sir Thomas Robinson. Rooms were completed stage by stage over the decades. A large part of the house was destroyed by a fire broke out on 9 November 1940. The dome, the hall, the dining room and the state rooms on the east side were entirely destroyed. Antonio Pellegrinis ceiling decoration the Fall of Phaeton was lost when the dome collapsed, in total, twenty pictures were lost. The fire took the Malton and York Fire Brigades eight hours to bring under control, some of the devastated rooms have been restored over the following decades
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Museum of Fine Arts, Boston
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The Museum of Fine Arts in Boston, Massachusetts, is the fourth largest museum in the United States. It contains more than 450,000 works of art, making it one of the most comprehensive collections in the Americas, with more than one million visitors a year, it is the 55th most-visited art museum in the world as of 2014. Founded in 1870, the moved to its current location in 1909. The museum is affiliated with the Tufts School of the Museum of Fine Arts, the Museum of Fine Arts was founded in 1870 and opened in 1876, with most of its initial collection taken from the Boston Athenæum Art Gallery. Francis Davis Millet, a local artist, was instrumental in starting the Art School affiliated with the museum and it was built almost entirely of red brick and terracotta with a small amount of stone in its base. The brick was produced by the Peerless Brick Company of Philadelphia, in 1907, plans were laid to build a new home for the museum on Huntington Avenue in Bostons Fenway-Kenmore neighborhood near the renowned Isabella Stewart Gardner Museum. Museum trustees decided to hire architect Guy Lowell to create a design for a museum so that could be built in stages as funding was obtained for each phase, two years later, the first section of Lowell’s neoclassical design was completed. It featured a 500-foot façade of granite and a grand rotunda, the museum moved to its new location later that year, the Copley Square Hotel eventually would replace the old building. The second phase of construction built a wing along the The Fens to house paintings galleries and it was funded entirely by Maria Antoinette Evans Hunt, the wife of wealthy business magnate Robert Dawson Evans, and opened in 1915. From 1916 through 1925, the noted artist John Singer Sargent painted the frescoes that adorn the rotunda, numerous additions enlarged the building throughout the years, including the Decorative Arts wing in 1928 and the Norma Jean Calderwood Garden Court and Terrace in 1997. The West Wing, designed by I. M. Pei, opened in 1981 and this wing now houses the museums cafe, restaurant, and gift shop as well as a special exhibition space. In the mid-2000s, the museum launched an effort to renovate. In 2011, Moodys Investors Service calculated that the museum had over $180 million in outstanding debt, however, the agency cited growing attendance, a large endowment, and positive cash flow as reasons to believe that the museums finances would become stable in the near future. The renovation included a new Art of the Americas Wing to feature artwork from North, South, in 2006, the groundbreaking ceremonies took place. The landscape architecture firm Gustafson Guthrie Nichol redesigned the Huntington Avenue and Fenway entrances, gardens, access roads, the wing opened on November 20,2010 with free admission to the public. Mayor Thomas Menino declared it Museum of Fine Arts Day, the 12, 000-square-foot glass-enclosed courtyard features a 42. 5-foot high glass sculpture, titled the Lime Green Icicle Tower, by Dale Chihuly. In 2014, the Art of the Americas Wing was recognized for its architectural achievement by being awarded the Harleston Parker Medal. In 2015, the museum renovated its Japanese garden, Tenshin-en, the garden, which originally opened in 1988, was designed by Japanese professor Kinsaku Nakane
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"Canale, Antonio". Encyclopædia Britannica. 5 (11th ed.). 1911. p. 172.
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