1.
Nadar (photographer)
–
Nadar was the pseudonym of Gaspard-Félix Tournachon, a French photographer, caricaturist, journalist, novelist, and balloonist. Photographic portraits by Nadar are held by many of the national collections of photographs. Nadar was born in April 1820 in Paris and his father, Victor Tournachon, was a printer and bookseller. After his fathers death, Nadar decided to quit his studies for economic reasons. Nadar started working as a caricaturist and novelist for various newspapers and he fell in with the Parisian bohemian group of Gérard de Nerval, Charles Baudelaire and Théodore de Banville. His friends picked a nickname for him, Tournadar, which later became Nadar and his work was published in Le Charivari for the first time in 1848. In 1849, he founded the Revue comique and the Petit journal pour rire, from work as a caricaturist, he moved on to photography, particularly portraits. He opened his studio in rue Saint Lazare in 1854. Nadar photographed a wide range of personalities, politicians, stage actors, writers, painters, portrait photography was going through a period of native industrialization and Nadar refused to use the traditional sumptuous decors, preferred natural daylight and despised useless accessories. In 1886, with his son Paul, he did what may be the first photo-report and it was published in Le Journal Illustré. He took his first photographs in 1853 and in 1855 opened a studio at 25 Boulevard des Capucines. He also pioneered the use of lighting in photography, working in the catacombs of Paris. He was the first person to photograph above ground with his balloons, as well as the first to photograph below ground, Le Géant was badly damaged at the end of its second flight, leading Nadar to the conviction that heavier-than-air machines would be more successful. Later, The Society for the Encouragement of Aerial Locomotion by Means of Heavier than Air Machines was established, with Nadar as president, Nadar was the inspiration for the character of Michael Ardan in Vernes From the Earth to the Moon. On his visit to Brussels with Le Géant, on 26 September 1864, crowd control barriers are still known in Belgium as Nadar barriers. In April 1874, he lent his studio to a group of painters to present the first exhibition of the Impressionists. He photographed Victor Hugo on his death-bed in 1885 and he is credited with having published the first photo-interview, and also took erotic photographs. From 1895 until his return to Paris in 1909, the Nadar photo studio was in Marseilles, Nadar died in 1910, aged 89
2.
Paris
–
Paris is the capital and most populous city of France. It has an area of 105 square kilometres and a population of 2,229,621 in 2013 within its administrative limits, the agglomeration has grown well beyond the citys administrative limits. By the 17th century, Paris was one of Europes major centres of finance, commerce, fashion, science, and the arts, and it retains that position still today. The aire urbaine de Paris, a measure of area, spans most of the Île-de-France region and has a population of 12,405,426. It is therefore the second largest metropolitan area in the European Union after London, the Metropole of Grand Paris was created in 2016, combining the commune and its nearest suburbs into a single area for economic and environmental co-operation. Grand Paris covers 814 square kilometres and has a population of 7 million persons, the Paris Region had a GDP of €624 billion in 2012, accounting for 30.0 percent of the GDP of France and ranking it as one of the wealthiest regions in Europe. The city is also a rail, highway, and air-transport hub served by two international airports, Paris-Charles de Gaulle and Paris-Orly. Opened in 1900, the subway system, the Paris Métro. It is the second busiest metro system in Europe after Moscow Metro, notably, Paris Gare du Nord is the busiest railway station in the world outside of Japan, with 262 millions passengers in 2015. In 2015, Paris received 22.2 million visitors, making it one of the top tourist destinations. The association football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris, the 80, 000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros, Paris hosted the 1900 and 1924 Summer Olympics and is bidding to host the 2024 Summer Olympics. The name Paris is derived from its inhabitants, the Celtic Parisii tribe. Thus, though written the same, the name is not related to the Paris of Greek mythology. In the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps, since the late 19th century, Paris has also been known as Panam in French slang. Inhabitants are known in English as Parisians and in French as Parisiens and they are also pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the areas major north-south trade routes crossed the Seine on the île de la Cité, this place of land and water trade routes gradually became a town
3.
Painting
–
Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
4.
Barbizon school
–
The Barbizon school of painters were part of an art movement towards Realism in art, which arose in the context of the dominant Romantic Movement of the time. The Barbizon school was active roughly from 1830 through 1870 and it takes its name from the village of Barbizon, France, near the Forest of Fontainebleau, where many of the artists gathered. Some of the most prominent features of school are its tonal qualities, color, loose brushwork. In 1824 the Salon de Paris exhibited works of John Constable and his rural scenes influenced some of the younger artists of the time, moving them to abandon formalism and to draw inspiration directly from nature. Natural scenes became the subjects of their paintings rather than mere backdrops to dramatic events, during the Revolutions of 1848 artists gathered at Barbizon to follow Constables ideas, making nature the subject of their paintings. The French landscape became a theme of the Barbizon painters. Millet extended the idea from landscape to figures — peasant figures, scenes of peasant life, in The Gleaners, for example, Millet portrays three peasant women working at the harvest. Gleaners are poor people who are permitted to gather the remains after the owners of the complete the main harvest. The owners and their laborers are seen in the back of the painting, Millet shifted the focus and the subject matter from the rich and prominent to those at the bottom of the social ladders. To emphasize their anonymity and marginalized position, he hid their faces, the womens bowed bodies represent their everyday hard work. In the spring of 1829, Jean-Baptiste-Camille Corot came to Barbizon to paint in the Forest of Fontainebleau, while there he met the members of the Barbizon school, Théodore Rousseau, Paul Huet, Constant Troyon, Jean-François Millet, and the young Charles-François Daubigny. During the late 1860s, the Barbizon painters attracted the attention of a generation of French artists studying in Paris. Several of those artists visited Fontainebleau Forest to paint the landscape, including Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, in the 1870s those artists, among others, developed the art movement called Impressionism and practiced plein air painting. Both Théodore Rousseau and Jean-François Millet died at Barbizon, painters in other countries were also influenced by this art. Beginning in the nineteenth century, many artists came to Paris from Austria-Hungary to study the new movements. For instance, the Hungarian painter János Thorma studied in Paris as a young man, in 1896 he was one of the founders of the Nagybánya artists colony in what is now Baia Mare, Romania, which brought impressionism to Hungary. Marlatt Adolphe Joseph Thomas Monticelli Eugène Boudin Antonio Fontanesi American Barbizon school Art colony Naturalism landscape art Macchiaioli Catalogues des Collections des Musees de France, media related to Barbizon School at Wikimedia Commons Hecht Museum Cambridge Art Gallery
5.
Impressionism
–
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
6.
Miniaturist
–
A portrait miniature is a miniature portrait painting, usually executed in gouache, watercolour, or enamel. They were especially valuable in introducing people to other over distances. Soldiers and sailors might carry miniatures of their loved ones while traveling, the first miniaturists used watercolour to paint on stretched vellum. During the second half of the 17th century, vitreous enamel painted on copper became increasingly popular, in the 18th century, miniatures were painted with watercolour on ivory, which had now become relatively cheap. As small in size as 40 mm ×30 mm, portrait miniatures were used as personal mementos or as jewellery or snuff box covers. The portrait miniature developed from the manuscript, which had been superseded for the purposes of book illustration by techniques such as woodprints. Lucas Horenbout was another Netherlandish miniature painter at the court of Henry VIII and these might be paintings, or finished drawings with some colour, and were produced by François Clouet, and his followers. Following these men we find Simon Renard de St. André, others whose names might be mentioned were Joseph Werner, and Rosalba Carriera. The colours are opaque, and gold is used to heighten the effect and they are often signed, and have frequently also a Latin motto upon them. Hilliard worked for a while in France, and he is identical with the painter alluded to in 1577 as Nicholas Belliart. Hilliard was succeeded by his son Lawrence Hilliard, his technique was similar to that of his father, but bolder, Isaac Oliver and his son Peter Oliver succeeded Hilliard. Isaac was the pupil of Hilliard, Peter was the pupil of Isaac. The two men were the earliest to give roundness and form to the faces they painted and they signed their best works in monogram, and painted not only very small miniatures, but larger ones measuring as much as 10 in ×9 in. They copied for Charles I of England on a small scale many of his famous pictures by the old masters, other miniaturists at about the same date included Balthazar Gerbier, George Jamesone, Penelope Cleyn and her brothers. Samuel Cooper was a nephew and student of the elder Hoskins and he spent much of his time in Paris and Holland, and very little is known of his career. His work has a breadth and dignity, and has been well called life-size work in little. His portraits of the men of the Puritan epoch are remarkable for their truth to life and he painted upon card, chicken skin and vellum, and on two occasions upon thin pieces of mutton bone. The use of ivory was not introduced until long after his time and his work is frequently signed with his initials, generally in gold, and very often with the addition of the date
7.
Barbizon
–
Barbizon is a commune in the Seine-et-Marne department in north-central France. It is located near the Fontainebleau Forest, the Barbizon school of painters is named after the village, Théodore Rousseau and Jean-François Millet, leaders of the school, made their homes and died in the village
8.
Camille Corot
–
Jean-Baptiste-Camille Corot was a French landscape and portrait painter as well as a printmaker in etching. He is a figure in landscape painting and his vast output simultaneously references the Neo-Classical tradition. Jean-Baptiste-Camille Corot was born in Paris on July 16,1796, in a house at 125 Rue du Bac, now demolished. After his parents married, they bought the shop where his mother had worked. The store was a destination for fashionable Parisians and earned the family an excellent income. Corot was the second of three born to the family, who lived above their shop during those years. Corot received a scholarship to study at the Lycée Pierre-Corneille in Rouen and he was not a brilliant student, and throughout his entire school career he did not get a single nomination for a prize, not even for the drawing classes. Unlike many masters who demonstrated early talent and inclinations toward art, during those years he lived with the Sennegon family, whose patriarch was a friend of Corots father and who spent much time with young Corot on nature walks. It was in this region that Corot made his first paintings after nature, at nineteen, Corot was a big child, shy and awkward. Before the beautiful ladies who frequented his mothers salon, he was embarrassed and fled like a wild thing, emotionally, he was an affectionate and well-behaved son, who adored his mother and trembled when his father spoke. When Corots parents moved into a new residence in 1817, the 21-year-old Corot moved into the room on the third floor. Later Corot stated, I told my father that business and I were simply incompatible, the business experience proved beneficial, however, by helping him develop an aesthetic sense through his exposure to the colors and textures of the fabrics. Perhaps out of boredom, he turned to oil painting around 1821 and he immediately rented a studio on quai Voltaire. In both approaches, landscape artists would typically begin with outdoor sketching and preliminary painting, with finishing work done indoors, michallon had a great influence on Corots career. Though this school was on the decline, it held sway in the Salon. Corot later stated, I made my first landscape from nature. under the eye of this painter, the lesson worked, since then I have always treasured precision. Though holding Neoclassicists in the highest regard, Corot did not limit his training to their tradition of allegory set in imagined nature and his notebooks reveal precise renderings of tree trunks, rocks, and plants which show the influence of Northern realism. Throughout his career, Corot demonstrated an inclination to apply both traditions in his work, sometimes combining the two, a condition by his parents before leaving was that he paint a self-portrait for them, his first
9.
Seine
–
The Seine is a 777-kilometre-long river and an important commercial waterway within the Paris Basin in the north of France. It rises at Source-Seine,30 kilometres northwest of Dijon in northeastern France in the Langres plateau, flowing through Paris and it is navigable by ocean-going vessels as far as Rouen,120 kilometres from the sea. There are 37 bridges within Paris and dozens more spanning the river outside the city, examples in Paris include the Pont Alexandre III and Pont Neuf, the latter of which dates back to 1607. Outside the city, examples include the Pont de Normandie, one of the longest cable-stayed bridges in the world, the Seine rises in the commune of Source-Seine, about 30 kilometres northwest of Dijon. The source has been owned by the city of Paris since 1864, a number of closely associated small ditches or depressions provide the source waters, with an artificial grotto laid out to highlight and contain a deemed main source. The grotto includes a statue of a nymph, on the same site are the buried remains of a Gallo-Roman temple. Small statues of the dea Sequana Seine goddess and other ex voti found at the place are now exhibited in the Dijon archeological museum. The Seine is dredged and oceangoing vessels can dock at Rouen,120 kilometres from the sea, commercial riverboats can use the river from Bar-sur-Seine,560 kilometres to its mouth. At Paris, there are 37 bridges, the river is only 24 metres above sea level 446 kilometres from its mouth, making it slow flowing and thus easily navigable. The Seine Maritime,105.7 kilometres from the English Channel at Le Havre to Rouen, is the portion of the Seine used by ocean-going craft. The tidal section of the Seine Maritime is followed by a section with four large multiple locks until the mouth of the Oise at Conflans-Sainte-Honorine. Multiple locks at Bougival / Chatou and at Suresnes lift the vessels to the level of the river in Paris, upstream from Paris seven locks ensure navigation to Saint Mammès, where the Loing mouth is situated. Through an eighth lock the river Yonne is reached at Montereau-Fault-Yonne, from the mouth of the Yonne, larger ships can continue upstream to Nogent-sur-Seine. From there on, the river is only by small craft. All navigation ends abruptly at Marcilly-sur-Seine, where the ancient Canal de la Haute-Seine used to allow vessels to continue all the way to Troyes and this canal has been abandoned for many years. The average depth of the Seine today at Paris is about 9.5 metres. Until locks were installed to raise the level in the 1800s, the river was much shallower within the city most of the time, today the depth is tightly controlled and the entire width of the river between the built-up banks on either side is normally filled with water. The average flow of the river is low, only a few cubic metres per second
10.
Oise
–
Oise is a department in the north of France. It is named after the river Oise, natives of the department are called Isariens. Oise is one of the original 83 departments created during the French Revolution on March 4,1790 and it was created from part of the province of Île-de-France and Picardy. After the coalition victory at Waterloo, the department was occupied by British troops between June 1815 and November 1818, Oise is part of the current region of Hauts-de-France and is situated 35 km north of Paris. It is surrounded by the departments of Somme, Aisne, Seine-et-Marne, Val-dOise, Eure, the major tourist attraction of the department is the Parc Astérix, which opened in 1989. Another very interesting site is Beauvais Cathedral, also to be seen is the Chateau de Pierrefonds, restored by Viollet-le-Duc. The art collection of the Château de Chantilly is one of the largest outside Paris, one of the villages along the river Oise is Auvers-sur-Oise, famous for having been visited by several impressionist artists. This is where Vincent van Gogh spent his last 70 days and it is his and his brother Theos resting place
11.
Auvers-sur-Oise
–
Auvers-sur-Oise is a commune in the northwestern suburbs of Paris, France. It is located 27.2 km from the centre of Paris and it is associated with several famous artists, the most prominent being Vincent van Gogh. Daubignys house is now a museum where one can see paintings by the artist, his family, if you walk along the river from Auvers toward Pontoise you can see a number of views which figured in the paintings of Pissarro. During the 20th century artists continued to frequent Auvers, including Henri Rousseau, Otto Freundlich, the COBRA artist Corneille spent his last years in the village and is buried a few meters from Vincent van Gogh. On 1 August 1948, 17% of the territory of Auvers-sur-Oise was detached, Dr. Paul Gachet lived in Auvers-sur-Oise. He was acquainted with the artists of the time. Through this connection, Vincent van Gogh moved to Auvers to be treated by him, Gachet befriended Van Gogh and was the subject of two portraits, one of which, Portrait of Dr. Gachet, was sold at auction for over $80m in 1990. Van Gogh died by a gunshot to the chest, the room on the upper floor of the Auberge Ravoux where he died has been preserved, although no furniture remains. Auvers-sur-Oise is the resting place of both Vincent and his brother Theo van Gogh, who died six months later. Auvers-sur-Oise in art Auvers-sur-Oise is served by two stations on the Transilien Paris – Nord suburban rail line, Chaponval and Auvers-sur-Oise. Communes of the Val-dOise department Auvers during the time of Vincent van Gogh INSEE Association of Mayors of the Val d’Oise Official website The Complete Works of Vincent van Gogh
12.
Gustave Courbet
–
Jean Désiré Gustave Courbet was a French painter who led the Realism movement in 19th-century French painting. Committed to painting only what he could see, he rejected academic convention and his independence set an example that was important to later artists, such as the Impressionists and the Cubists. Courbet occupies an important place in 19th-century French painting as an innovator, Courbets paintings of the late 1840s and early 1850s brought him his first recognition. They challenged convention by depicting unidealized peasants and workers, often on a grand scale traditionally reserved for paintings of religious or historical subjects, Courbets subsequent paintings were mostly of a less overtly political character, landscapes, seascapes, hunting scenes, nudes and still lifes. He was imprisoned for six months in 1871 for his involvement with the Paris Commune, Gustave Courbet was born in 1819 to Régis and Sylvie Oudot Courbet in Ornans. Being a prosperous farming family, anti-monarchical feelings prevailed in the household, Courbets sisters, Zoé, Zélie and Juliette, were his first models for drawing and painting. After moving to Paris he often returned home to Ornans to hunt, fish and he went to Paris in 1839 and worked at the studio of Steuben and Hesse. An independent spirit, he left, preferring to develop his own style by studying the paintings of Spanish, Flemish and French masters in the Louvre. Among his paintings of the early 1840s are several self-portraits, Romantic in conception, trips to the Netherlands and Belgium in 1846–47 strengthened Courbets belief that painters should portray the life around them, as Rembrandt, Hals and other Dutch masters had. By 1848, he had gained supporters among the younger critics, Courbet achieved his first Salon success in 1849 with his painting After Dinner at Ornans. The work, reminiscent of Chardin and Le Nain, earned Courbet a gold medal and was purchased by the state, the gold medal meant that his works would no longer require jury approval for exhibition at the Salon—an exemption Courbet enjoyed until 1857. In 1849-50, Courbet painted Stone-Breakers, which Proudhon admired as an icon of peasant life, the painting was inspired by a scene Courbet witnessed on the roadside. He later explained to Champfleury and the writer Francis Wey, It is not often that one encounters so complete an expression of poverty and so, right then, I told them to come to my studio the next morning. Courbets work belonged neither to the predominant Romantic nor Neoclassical schools, instead, he maintained that the only possible source for living art is the artists own experience. He and Jean-Francois Millet would find inspiration painting the life of peasants, Courbet painted figurative compositions, landscapes, seascapes, and still lifes. He courted controversy by addressing issues in his work, and by painting subjects that were considered vulgar, such as the rural bourgeoisie, peasants. His work, along with that of Honoré Daumier and Jean-François Millet and he depicted the harshness in life, and in so doing challenged contemporary academic ideas of art. The Salon of 1850–1851 found him triumphant with The Stone Breakers, the Burial, one of Courbets most important works, records the funeral of his grand uncle which he attended in September 1848
13.
Franco-Prussian war
–
The conflict was caused by Prussian ambitions to extend German unification and French fears of the shift in the European balance of power that would result if the Prussians succeeded. On 16 July 1870, the French parliament voted to declare war on the German Kingdom of Prussia, the German coalition mobilised its troops much more quickly than the French and rapidly invaded northeastern France. The German forces were superior in numbers, had training and leadership and made more effective use of modern technology, particularly railroads. The German states proclaimed their union as the German Empire under the Prussian king Wilhelm I, the Treaty of Frankfurt of 10 May 1871 gave Germany most of Alsace and some parts of Lorraine, which became the Imperial territory of Alsace-Lorraine. French determination to regain Alsace-Lorraine and fear of another Franco-German war, along with British apprehension about the balance of power, the causes of the Franco-Prussian War are deeply rooted in the events surrounding the unification of Germany. In the aftermath of the Austro-Prussian War of 1866, Prussia had annexed numerous territories and this new power destabilized the European balance of power established by the Congress of Vienna in 1815 after the Napoleonic Wars. France was strongly opposed to any further alliance of German states, in Prussia, some officials considered a war against France both inevitable and necessary to arouse German nationalism in those states that would allow the unification of a great German empire. Bismarck also knew that France should be the aggressor in the conflict to bring the southern German states to side with Prussia, many Germans also viewed the French as the traditional destabilizer of Europe, and sought to weaken France to prevent further breaches of the peace. The immediate cause of the war resided in the candidacy of Leopold of Hohenzollern-Sigmaringen, France feared encirclement by an alliance between Prussia and Spain. The Hohenzollern princes candidacy was withdrawn under French diplomatic pressure, releasing the Ems Dispatch to the public, Bismarck made it sound as if the king had treated the French envoy in a demeaning fashion, which inflamed public opinion in France. They also argue that he wanted a war to resolve growing domestic political problems, other historians, notably French historian Pierre Milza, dispute this. According to Milza, the Emperor had no need for a war to increase his popularity, the Ems telegram had exactly the effect on French public opinion that Bismarck had intended. This text produced the effect of a red flag on the Gallic bull, gramont, the French foreign minister, declared that he felt he had just received a slap. Napoleons new prime minister, Emile Ollivier, declared that France had done all that it could humanly and honorably do to prevent the war, a crowd of 15–20,000 people, carrying flags and patriotic banners, marched through the streets of Paris, demanding war. On 19 July 1870 a declaration of war was sent to the Prussian government, the southern German states immediately sided with Prussia. The French Army consisted in peacetime of approximately 400,000 soldiers, some of them were veterans of previous French campaigns in the Crimean War, Algeria, the Franco-Austrian War in Italy, and in the Mexican campaign. Under Marshal Adolphe Niel, urgent reforms were made, universal conscription and a shorter period of service gave increased numbers of reservists, who would swell the army to a planned strength of 800,000 on mobilisation. Those who for any reason were not conscripted were to be enrolled in the Garde Mobile, however, the Franco-Prussian War broke out before these reforms could be completely implemented
14.
London
–
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
15.
Claude Monet
–
Monets ambition of documenting the French countryside led him to adopt a method of painting the same scene many times in order to capture the changing of light and the passing of the seasons. From 1883 Monet lived in Giverny, where he purchased a house and property, Claude Monet was born on 14 November 1840 on the fifth floor of 45 rue Laffitte, in the 9th arrondissement of Paris. He was the son of Claude Adolphe Monet and Louise Justine Aubrée Monet. On 20 May 1841, he was baptized in the parish church, Notre-Dame-de-Lorette, as Oscar-Claude. Despite being baptized Catholic, Monet later became an atheist, in 1845, his family moved to Le Havre in Normandy. His father wanted him to go into the familys ship-chandling and grocery business and his mother was a singer, and supported Monets desire for a career in art. On 1 April 1851, Monet entered Le Havre secondary school of the arts, locals knew him well for his charcoal caricatures, which he would sell for ten to twenty francs. Monet also undertook his first drawing lessons from Jacques-François Ochard, a student of Jacques-Louis David. On the beaches of Normandy around 1856 he met fellow artist Eugène Boudin, Boudin taught Monet en plein air techniques for painting. Both received the influence of Johan Barthold Jongkind, on 28 January 1857, his mother died. At the age of sixteen, he left school and went to live with his widowed, childless aunt, when Monet traveled to Paris to visit the Louvre, he witnessed painters copying from the old masters. Having brought his paints and other tools with him, he would go and sit by a window. Monet was in Paris for several years and met other painters, including Édouard Manet and others who would become friends. After drawing a low number in March 1861, Monet was drafted into the First Regiment of African Light Cavalry in Algeria for a seven-year period of military service. His prosperous father could have purchased Monets exemption from conscription but declined to do so when his son refused to give up painting. While in Algeria Monet did only a few sketches of scenes, a single landscape. In a Le Temps interview of 1900 however he commented that the light, after about a year of garrison duty in Algiers, Monet contracted typhoid fever and briefly went absent without leave. Following convalescence, Monets aunt intervened to get him out of the army if he agreed to complete a course at an art school and it is possible that the Dutch painter Johan Barthold Jongkind, whom Monet knew, may have prompted his aunt on this matter
16.
Legion of Honor
–
The Legion of Honour, full name National Order of the Legion of Honour, is the highest French order of merit for military and civil merits, established 1802 by Napoléon Bonaparte. The order is divided into five degrees of increasing distinction, Chevalier, Officier, Commandeur, Grand Officier and Grand-Croix. The orders motto is Honneur et Patrie and its seat is the Palais de la Légion dHonneur next to the Musée dOrsay, in the French Revolution, all French orders of chivalry were abolished, and replaced with Weapons of Honour. The Légion however did use the organization of old French orders of chivalry, the badges of the legion also bear a resemblance to the Ordre de Saint-Louis, which also used a red ribbon. Napoleon originally created this to ensure political loyalty, the organization would be used as a facade to give political favours, gifts, and concessions. The Légion was loosely patterned after a Roman legion, with legionaries, officers, commanders, regional cohorts, the highest rank was not a grand cross but a Grand Aigle, a rank that wore all the insignia common to grand crosses. The members were paid, the highest of them extremely generously,5,000 francs to an officier,2,000 francs to a commandeur,1,000 francs to an officier,250 francs to a légionnaire. Napoleon famously declared, You call these baubles, well, it is with baubles that men are led, do you think that you would be able to make men fight by reasoning. That is good only for the scholar in his study, the soldier needs glory, distinctions, rewards. This has been quoted as It is with such baubles that men are led. The order was the first modern order of merit, under the monarchy, such orders were often limited to Roman Catholics, and all knights had to be noblemen. The military decorations were the perks of the officers, the Légion, however, was open to men of all ranks and professions—only merit or bravery counted. The new legionnaire had to be sworn in the Légion and it is noteworthy that all previous orders were crosses or shared a clear Christian background, whereas the Légion is a secular institution. The jewel of the Légion has five arms, in a decree issued on the 10 Pluviôse XIII, a grand decoration was instituted. This decoration, a cross on a sash and a silver star with an eagle, symbol of the Napoleonic Empire, became known as the Grand Aigle. After Napoleon crowned himself Emperor of the French in 1804 and established the Napoleonic nobility in 1808, the title was made hereditary after three generations of grantees. Napoleon had dispensed 15 golden collars of the legion among his family and this collar was abolished in 1815. The Légion dhonneur was prominent and visible in the French Empire, the Emperor always wore it and the fashion of the time allowed for decorations to be worn most of the time
17.
Hippolyte Camille Delpy
–
Hippolyte Camille Delpy was a French painter. Delpy came from a wealthy family from Joigny, in the Burgundy region of France. He was a student of Charles-François Daubigny, hippolyte-Camille Delpy studied with Charles-François Daubigny as well as Corot. Delpy became interested in painting when he met Daubigny around 1855, during the summers, Delpy traveled with Daubigny on excursions aboard the studio-boat Le Botin. Through Daubigny, Delpy met Camille Corot, who encouraged and occasionally advised the young painter, in 1869, Delpy sent his first paintings to the Salon, in December he began to paint small snow scenes, as Pissarro and Monet were also doing during that remarkable winter. In the early 1870s, Delpy worked often in Ville-dAvray, Corots favored country site, Delpy began friendships with Pissarro and Cézanne who shared his admiration of Daubigny. His Salon paintings of 1873 and 1874 were well received, in 1875, exhibited a snow scene at the Salon for the first time and was complemented by the critic Jules-Antoine Castagnary for his originality. In 1876 Delpy organized a sale of his own paintings at the auction house Hôtel Drouot, the sale was favorably announced in several newspapers and was a significant success, with all 45 works sold. That summer, Delpy moved his family to Bois-le-Roi, outside the Forest of Fontainebleau, at the Salon of 1880, Delpy exhibited a potato harvesting scene, his first landscape with large-scale figures. Throughout the 1880s, Delpy alternated work on the Normandy coast with stays in the Forest of Fontainebleau, Delpy received his first Salon medal in 1884. In 1886, Delpy traveled to the United States as part of a team that painted a panorama of the battle of Manassas in Washington DC, at the Exposition Universelle of 1889, Delpy was awarded an honorable mention. The Galerie Georges Petit, a dealer in contemporary French paintings, began to handle his work. Petit was simultaneously promoting Pissarro and Alfred Sisley and would later show Monet, in 1908, Delpy was given an exhibition at the prestigious Grafton Galleries in London
18.
Albert Charpin
–
Albert Charpin, born in Grasse, Alpes-Maritimes in 1842, died in Asnières-sur-Seine in 1924. He was a naturalist painter associated with the Barbizon school and he painted real objects in a natural setting. A pupil of Charles-François Daubigny, Charpin was a painter of landscapes with, typically. Characteristic of his paintings are the poses and serenity of his actors, in a context of early morning light. He was a member of the Barbizon School. One of his paintings, Le Retour à la Ferme, is at the Musée des Beaux-Arts at Chambéry in Savoie and his paintings can also found in museums and private collections elsewhere in Europe and in the Americas
19.
Pierre Emmanuel Damoye
–
Pierre Emmanuel Damoye was French artist born in Paris on February 20,1847. He studied his craft at the École des Beaux-Arts and went on to become a renowned and influential landscape artist noted for his sweeping skies, tree studded-plains, and vibrant farmlands. He was regularly recognized by a range of art critics as one of the most significant heirs to the Barbizon school tradition. Damoye studied at the École des Beaux-Arts in the studio of Léon Bonnat, one of the foremost figure painters, Damoye, however, seems to have committed himself to landscape art from the beginning of his career. He also painted the river banks and upland plateaus of the Oise and Seine basins, worked frequently in Picardy and he also made at least one trip to the Normandy coast. In 1884 he received a class medal, followed by a very prestigious gold medal at the grand. He was inducted into the Légion dhonneur in 1893 and became a member of the Salon jury in 1900
20.
Den Haag
–
The Hague is a city on the western coast of the Netherlands, and the capital city of the province of South Holland. With a population of 520,704 inhabitants and more than one million including the suburbs, it is the third-largest city of the Netherlands. The Rotterdam The Hague Metropolitan Area, with a population of approximately 2.7 million, is the 12th-largest in the European Union and the most populous in the country. Located in the west of the Netherlands, The Hague is in the centre of the Haaglanden conurbation and lies at the southwest corner of the larger Randstad conurbation. The Hague is the seat of the Dutch government, parliament, the Supreme Court, and the Council of State, but the city is not the capital of the Netherlands, which constitutionally is Amsterdam. King Willem-Alexander of the Netherlands plans to live at Huis ten Bosch and works at Noordeinde Palace in The Hague, the Hague is also home to the world headquarters of Royal Dutch Shell and numerous other major Dutch companies. The Hague originated around 1230, when Count Floris IV of Holland purchased land alongside a pond, in 1248, his son and successor William II, King of the Romans, decided to extend the residence to a palace, which would later be called the Binnenhof. He died in 1256 before this palace was completed but parts of it were finished by his son Floris V, of which the Ridderzaal and it is still used for political events, such as the annual speech from the throne by the Dutch monarch. From the 13th century onwards, the counts of Holland used The Hague as their administrative centre, the village that originated around the Binnenhof was first mentioned as Haga in a charter dating from 1242. In the 15th century, the smarter des Graven hage came into use, literally The Counts Wood, with connotations like The Counts Hedge, s-Gravenhage was officially used for the city from the 17th century onwards. Today, this name is used in some official documents like birth. The city itself uses Den Haag in all its communication and their seat was located in The Hague. At the beginning of the Eighty Years War, the absence of city walls proved disastrous, in 1575, the States of Holland even considered demolishing the city but this proposal was abandoned, after mediation by William of Orange. From 1588, The Hague also became the seat of the government of the Dutch Republic, in order for the administration to maintain control over city matters, The Hague never received official city status, although it did have many of the privileges normally granted only to cities. In modern administrative law, city rights have no place anymore, only in 1806, when the Kingdom of Holland was a puppet state of the First French Empire, was the settlement granted city rights by Louis Bonaparte. After the Napoleonic Wars, modern-day Belgium and the Netherlands were combined in the United Kingdom of the Netherlands to form a buffer against France, as a compromise, Brussels and Amsterdam alternated as capital every two years, with the government remaining in The Hague. After the separation of Belgium in 1830, Amsterdam remained the capital of the Netherlands, when the government started to play a more prominent role in Dutch society after 1850, The Hague quickly expanded. The growing city annexed the rural municipality of Loosduinen partly in 1903, the city sustained heavy damage during World War II
21.
Museum de Fundatie
–
Museum de Fundatie is a museum for the visual arts in Zwolle. Museum de Fundatie forms part of the Hannema-de Stuers Foundation, to which Kasteel het Nijenhuis in Heino also belongs, as well as the permanent collection, Museum de Fundatie organises new, wide-ranging exhibitions every three months. Museum de Fundatie recorded a number of 310,000 visitors in 2015. Museum de Fundatie was founded in 1958 and its original location is Kasteel Het Nijenhuis, a 17th-century castle near the villages of Heino and Wijhe, which was the residence of museum founder Dirk Hannema. From 1991 until 2005, the Bergkerk, a church in the city of Deventer, was the secondary location of the museum used for temporary exhibitions. Since 2005, the Paleis aan de Blijmarkt, a court building in the city of Zwolle, is the second location of the museum. The location in Zwolle was closed for renovation on 8 January 2012, the museums collection is divided over two locations, Designed by Eduard Louis de Coninck of The Hague, this former Palace of Justice was built in the neo-classicist style between 1838 and 1841. The court building was revamped by architect Arne Mastenbroek during the nineteen eighties to serve as the new office for the national planning service’s information department. Mastenbroek’s second renovation in 1994 saw the palace become a fully fledged museum, between 1994 and 2001, the building accommodated the Museum for Naive and Outsider Art. In 2004-2005, the court house was renovated by architect Gunnar Daan to offer space for Museum de Fundatie. The museum was expanded in 2012-2013 with the addition of new space on the roof of the existing building. This egg-shaped extension was designed by Bierman Henket architects, built in the 14th century, Het Nijenhuis manor is situated near the village of Heino. Officially however, it lies within the municipality of Olst-Wijhe, the building belongs to the Province of Overijssel and Dirk Hannema lived here from 1958 until his death in 1984. Art collector Hannema was, among other things, the director of Museum Boijmans Van Beuningen and he left his collection to the Hannema-de Stuers Foundation and therefore to Museum De Fundatie. Het Nijenhuis was opened to the public after restoration in 2004, the sculpture garden surrounding the manor is one of the Netherlands’ larger ones. The garden displays more than ninety 20th and 21st century sculptures, the museum collection is originally based on the eclectic art collection of Dirk Hannema, former museum director of Museum Boijmans Van Beuningen in Rotterdam. Since 1993, the collection of the Province of Overijssel is also managed by the museum, the collection contains over 7,000 paintings, drawings, prints, sculptures, and other objects. In 2010, the Van Gogh painting The blute-fin mill was authenticated by the Van Gogh Museum, waanders/Museum de Fundatie, Zwolle/Heino etc.160 p. ISBN 90-400-8990-6
22.
Zwolle
–
Zwolle is the capital city and municipality of the province of Overijssel, Netherlands. It has a population around 125,000, archaeological findings indicate that the area surrounding Zwolle has been inhabited for a long time. A woodhenge that was found in the Zwolle-Zuid suburb in 1993 was dated to the Bronze Age period, during the Roman era, the area was inhabited by Salian Franks. The modern city was founded around 800 CE by Frisian merchants, the name Zwolle is derived from the word Suolle, which means hill. This refers to an incline in the landscape between the four rivers surrounding the city, IJssel, Vecht, Aa and Zwarte Water, the hill was the only piece of land that would remain dry during the frequent floodings of the rivers. Zwolle was established on that incline, a document mentions the existence of a parish church dedicated to St Michael. That church, the Grote or Sint Michaëlskerk, was renovated in the first half of the 15th century, the church contains a richly carved pulpit, the work of Adam Straes van Weilborch, some good carving and an exquisite organ. On August 31,1230, the bishop of Utrecht granted Zwolle city rights, Zwolle became a member of the Hanseatic league in 1294, and in 1361 joined the war between the Hanseatic League and Valdemar IV of Denmark. In the 1370 Treaty of Stralsund that ended the war, Zwolle was awarded a vitte, zwolles golden age came in the 15th century. Between 1402 and 1450, the citys Gross Regional Product multiplied by about six, in July 1324 and October 1361, regional noblemen set fire to Zwolle. In the 1324 fire, only nine buildings escaped the flames, Zwolle was also, with Deventer, one of the centers of the Brethren of the Common Life, a monastic movement. 5 km from Zwolle, on an eminence called the Agnietenberg, once stood the Augustinian convent in which Thomas à Kempis spent the greatest part of his life. At least as early as 1911, Zwolle had a trade by river, a large fish market. The more important industries comprised cotton manufactures, iron works, boat-building, dyeing and bleaching, tanning, rope-making, in World War II, Zwolle was single-handedly liberated from the Germans by Canadian soldier Léo Major. He was made a citizen of Zwolle in 2005 and a street is named for him. Citizens of Zwolle are colloquially known as Blauwvingers and this dates back to 1682, when the St Michaels church tower collapsed. The authorities were strapped for cash and saw no option but to sell the church bells to neighbouring city Kampen, to make sure that Kampen would not make too much profit from the deal, the local authorities asked a high price for the church bells. Kampen accepted, yet after the arrival of the bells it became clear, in revenge, Kampen paid in copper coins of four duiten
23.
Cincinnati Art Museum
–
The Cincinnati Art Museum is one of the oldest art museums in the United States. Founded in 1881, it was the first purpose-built art museum west of the Alleghenies and its collection of over 67,000 works spanning 6,000 years of human history make it one of the most comprehensive collections in the Midwest. Museum founders debated locating the museum in either Burnet Woods, Eden Park, charles West, the major donor of the early museum, cast his votes in favor of Eden Park sealing its final location. The Romanesque-revival building designed by Cincinnati architect James W. McLaughlin opened in 1886, a series of additions and renovations have considerably altered the building over its 120-year history. In 2003, an addition, The Cincinnati Wing was added to house a permanent exhibit of art created for Cincinnati or by Cincinnati artists since 1788. The Cincinnati Wing includes fifteen new galleries covering 18,000 square feet of well-appointed space, the Odoardo Fantacchiotti angels are two of the largest pieces in the collection. Fantacchiotti created these angels for the altar of St. Peter in Chains Cathedral in the late 1840s. They were among the first European sculptures to come to Cincinnati, the Cincinnati Wing also contains the work of Frank Duveneck, Rookwood Pottery, Robert Scott Duncanson Mitchell and Rammelsberg and a tall case clock by Luman Watson. In the late century, public art museums were still very much a new phenomenon. Enthusiasm for these goals grew steadily and by 1881 the Cincinnati Museum Association was incorporated, the art museum was at first temporarily housed in the south wing of Music Hall in Over-the-Rhine. Just five years later, or on May 17,1886, the Cincinnati Art Museum enjoyed the support of the community from the beginning. In 1907 the Schmidlapp Wing opened, which was followed by a series of building projects, renovations during the late 1940s and early 1950s divided the Great Hall into two floors and the present main entrance to the Art Museum was established. The 1965 completion of the Adams-Emery wing increased our facility resources yet further, adding space for the permanent collection, lecture halls, in 1993, a $13 million project restored the grandeur of the Art Museums interior architecture and uncovered long-hidden architectural details. This project included the renovation of one of the Art Museums signature spaces, in addition, new gallery space was created and lighting and climate control were improved. The Art Museums temporary exhibition space was expanded to approximately 10,000 square feet to accommodate major temporary exhibitions, by the turn of the twenty-first century, the Art Museums collection numbered over 60,000 objects and, today, is the largest in the state of Ohio. In addition, on May 17,2003, the Art Museum eliminated its general admission fee forever, made possible by The Lois, the collection also includes works by Jean-Baptiste-Camille Corot, Pierre-Auguste Renoir, Camille Pissarro, Claude Monet, and Pablo Picasso. The museum also has a collection of paintings by American painter Frank Duveneck. As a result, in 2010 the museum mounted “See America, attendance at the museum has increased by 30 percent since it started emphasizing its permanent collection
24.
Rijksmuseum Amsterdam
–
The Rijksmuseum is a Dutch national museum dedicated to arts and history in Amsterdam. The museum is located at the Museum Square in the borough Amsterdam South, close to the Van Gogh Museum, the Stedelijk Museum Amsterdam, and the Concertgebouw. The Rijksmuseum was founded in The Hague in 1800 and moved to Amsterdam in 1808, the current main building was designed by Pierre Cuypers and first opened its doors in 1885. On 13 April 2013, after a renovation which cost €375 million. In 2013 and 2014, it was the most visited museum in the Netherlands with record numbers of 2.2 million and 2.47 million visitors and it is also the largest art museum in the country. The museum also has a small Asian collection, which is on display in the Asian pavilion, in 1795, the Batavian Republic was proclaimed. The Minister of Finance Isaac Gogel argued that a museum, following the French example of The Louvre. On 19 November 1798, the government decided to found the museum, on 31 May 1800, the National Art Gallery, precursor of the Rijksmuseum, opened its doors in Huis ten Bosch in The Hague. The museum exhibited around 200 paintings and historic objects from the collections of the Dutch stadtholders, in 1805, the National Art Gallery moved within The Hague to the Buitenhof. In 1806, the Kingdom of Holland was established by Napoleon Bonaparte, on the orders of king Louis Bonaparte, brother of Napoleon, the museum moved to Amsterdam in 1808. The paintings owned by city, such as The Night Watch by Rembrandt. In 1809, the museum opened its doors in the Royal Palace in Amsterdam, in 1817, the museum moved to the Trippenhuis. The Trippenhuis turned out to be unsuitable as a museum, in 1820, the historical objects were moved to the Mauritshuis in The Hague, and in 1838 the 19th-century paintings were moved to Paviljoen Welgelegen in Haarlem. In 1863, there was a design contest for a new building for the Rijksmuseum, Pierre Cuypers also participated in the contest and his submission reached the second place. In 1876 a new contest was held and this time Pierre Cuypers won, the design was a combination of gothic and renaissance elements. The construction began on 1 October 1876, on both the inside and the outside, the building was richly decorated with references to Dutch art history. Another contest was held for these decorations, the winners were B. van Hove and J. F. Vermeylen for the sculptures, G. Sturm for the tile tableaus and painting and W. F. Dixon for the stained glass. The museum was opened at its new location on 13 July 1885, in 1890 a new building was added a short distance to the south-west of the Rijksmuseum
25.
Les Sables-d'Olonne
–
Les Sables-dOlonne is a seaside town in western France, on the Atlantic Ocean. It is a sub-prefecture of the Department of Vendée, and has the level of commune. Les Sables-dOlonne is a town in western France, on the Atlantic Ocean. The nearest major metropolitan center of France, to Les Sables-dOlonne, is Nantes and it is at the level of administrative division in the French Republic of a commune—roughly equivalent to civil townships in the United States—and is a sub-prefecture of the Department of Vendée. Les Sables-dOlonne is French for the sands of Olonne and it was founded in 1218 from Havre dOlonne by Savary I de Mauléon, the Lord of Mauléon, Sénéchal of Poitou and prince of Talmont. Its history is tied to the ocean for which it has served as a port, louis XI separated Les Sables dOlonne from the town of Olonne in 1472. It became the largest cod-fishing port in France, with 14,000 inhabitants, during the French Revolution, unlike the surrounding Vendée, the city supported the Republic, and so was often besieged—unsuccessfully, because of its port. The current local tourism industry traces its roots to bathing establishments, rail service reached Les Sables on 29 December 1866, via the line from La Roche-sur-Yon, Bressuire, Saumur, and Tours, express service t and from Paris would arrive in 1971. Germany occupied, Les Sables dOlonne during World War II, and upon evacuation of that army at wars end, the German army made an effort to destroy the port, the Vendée Globe yacht race, which takes place every four years, starts and ends at Les Sables-dOlonne. The Musée de lAbbaye Sainte-Croix is a museum situated in a 17th-century building that is devoted to modern and contemporary art. It includes works of Gaston Chaissac and Victor Brauner, Les Sables-dOlonne is the setting for 1948 novel Les Vacances de Maigret, by Georges Simenon. The town is the birthplace of pirate François lOlonnais, Les Sables-dOlonne has been a sister town of the following European communities, Schwabach, Germany since 1975, Sliema, Malta, since 2005, Trapani, Italy, and Worthing, United Kingdom, since 1998. Communes of the Vendée department INSEE City council website Les Sables-dOlonne, Vendee Globe Race Les Sables-dOlonne Tourist Board
26.
Daubigny's Garden
–
Daubignys Garden, painted three times by Vincent van Gogh, depicts the enclosed garden of Charles-François Daubigny, a painter whom Van Gogh admired throughout his life. Van Gogh started with a study of a section of the garden. Then he worked on two paintings of the full walled garden. The paintings were made in Auvers between May and July 1890, during the last few months of his life, all three paintings are titled Daubignys Garden and are distinguished by the museums they reside in, Kunstmuseum Basel, Hiroshima Museum of Art and Van Gogh Museum. Van Gogh greatly admired Charles-François Daubigny, a French landscape artist associated with the Barbizon school who painted river, Daubigny was born in Paris in 1817 and moved to Auvers-sur-Oise in 1860. When Van Gogh came to Auvers in 1890 Daubignys widow still occupied their house and he painted Daubignys garden three times, twice with the entire enclosed garden on double-square canvas and an earlier study of a portion of the garden. The pastoral Auvers-sur-Oise region of hills, fields, gardens and cottages attracted artists to it, starting in 1850 a railroad line facilitated travel from Auvers from Paris. Artists who came to the area to paint included the Impressionists Armand Guillaumin, Camille Pissarro, in May 1890 Van Gogh left Saint-Rémy for Auvers where it provided a quieter life than that of Paris, but was still near his brother Theo for visits. In Auvers he was under the care of Paul Gachet, a homeopathic physician, Gachet, an amateur painter, became a good friend. To Theo he described Gachet as something like another brother, in Van Goghs first letter to his brother from Auvers he wrote, It is profoundly beautiful, it is the real country, characteristic and picturesque. Van Gogh wrote in a letter dated 23 July 1890 to his brother Theo, in both double-squares, the garden is furnished as a welcoming outdoor living space with a bench, table and chairs. In this painting a woman, cat and blooming flowers bring life to the setting, the landscaped garden, the focal point, contains a rose bed in the foreground and is surrounded by trees. In the background is a house and a church with a Romanesque steeple. The beautifully manicured and landscaped Daubignys Garden elevated the reputation of Charles-François Daubigny as a successful. The painting was made on double-square canvas, the initial study, on extended loan to the Kunstmuseum Basel from the Rudolf Staechelin Family Foundation, has a black cat in the foreground towards the left. The painting in which Van Gogh described the sky as pale green is very similar to the first double-square and this slightly later version, also on double-square canvas, is on extended loan to the Hiroshima Museum of Art. The Van Gogh Museum study was made first of a portion of the enclosed garden. He made a sketch of it for Theo, with a description, In the foreground green and pink grass… In the center a rose bush
27.
Public domain
–
The term public domain has two senses of meaning. Anything published is out in the domain in the sense that it is available to the public. Once published, news and information in books is in the public domain, in the sense of intellectual property, works in the public domain are those whose exclusive intellectual property rights have expired, have been forfeited, or are inapplicable. Examples for works not covered by copyright which are therefore in the domain, are the formulae of Newtonian physics, cooking recipes. Examples for works actively dedicated into public domain by their authors are reference implementations of algorithms, NIHs ImageJ. The term is not normally applied to situations where the creator of a work retains residual rights, as rights are country-based and vary, a work may be subject to rights in one country and be in the public domain in another. Some rights depend on registrations on a basis, and the absence of registration in a particular country, if required. Although the term public domain did not come into use until the mid-18th century, the Romans had a large proprietary rights system where they defined many things that cannot be privately owned as res nullius, res communes, res publicae and res universitatis. The term res nullius was defined as not yet appropriated. The term res communes was defined as things that could be enjoyed by mankind, such as air, sunlight. The term res publicae referred to things that were shared by all citizens, when the first early copyright law was first established in Britain with the Statute of Anne in 1710, public domain did not appear. However, similar concepts were developed by British and French jurists in the eighteenth century, instead of public domain they used terms such as publici juris or propriété publique to describe works that were not covered by copyright law. The phrase fall in the domain can be traced to mid-nineteenth century France to describe the end of copyright term. In this historical context Paul Torremans describes copyright as a coral reef of private right jutting up from the ocean of the public domain. Because copyright law is different from country to country, Pamela Samuelson has described the public domain as being different sizes at different times in different countries. According to James Boyle this definition underlines common usage of the public domain and equates the public domain to public property. However, the usage of the public domain can be more granular. Such a definition regards work in copyright as private property subject to fair use rights, the materials that compose our cultural heritage must be free for all living to use no less than matter necessary for biological survival
28.
Virtual International Authority File
–
The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
29.
Integrated Authority File
–
The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives, the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero license, the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format
30.
Union List of Artist Names
–
The Union List of Artist Names is an online database using a controlled vocabulary currently containing around 293,000 names and other information about artists. Names in ULAN may include names, pseudonyms, variant spellings, names in multiple languages. Among these names, one is flagged as the preferred name, the focus of each ULAN record is an artist. Currently there are around 120,000 artists in the ULAN, in the database, each artist record is identified by a unique numeric ID. Linked to each artist record are names, related artists, sources for the data, the temporal coverage of the ULAN ranges from Antiquity to the present and the scope is global. The ULAN includes proper names and associated information about artists, artists may be either individuals or groups of individuals working together. Artists in the ULAN generally represent creators involved in the conception or production of visual arts, repositories and some donors are included as well. Work on the ULAN began in 1984, when the Getty decided to merge, in 1987 the Getty created a department dedicated to compiling and distributing terminology. The ULAN grows and changes via contributions from the user community, although originally intended only for use by Getty projects, the broader art information community outside the Getty expressed a need to use ULAN for cataloging and retrieval. Its scope was broadened to include corporate bodies such as firms and repositories of art. The ULAN was founded under the management of Eleanor Fink, the ULAN has been constructed over the years by numerous members of the user community and an army of dedicated editors, under the supervision of several managers. The ULAN was published in 1994 in hardcopy and machine-readable files, given the growing size and frequency of changes and additions to the ULAN, by 1997 it had become evident that hard-copy publication was impractical. It is now published in automated formats only, in both a searchable online Web interface and in data files available for licensing, final editorial control of the ULAN is maintained by the Getty Vocabulary Program, using well-established editorial rules. The current managers of the ULAN are Patricia Harpring, Managing Editor, entities in the Person facet typically have no children. Entities in the Corporate Body facet may branch into trees, there may be multiple broader contexts, making the ULAN structure polyhierarchical. In addition to the relationships, the ULAN also has equivalent. Contributors to the Getty Vocabularies and implementers of the licensed vocabulary data may consult these guidelines as well
31.
National Library of Australia
–
In 2012–2013, the National Library collection comprised 6,496,772 items, and an additional 15,506 metres of manuscript material. In 1901, a Commonwealth Parliamentary Library was established to serve the newly formed Federal Parliament of Australia, from its inception the Commonwealth Parliamentary Library was driven to development of a truly national collection. The present library building was opened in 1968, the building was designed by the architectural firm of Bunning and Madden. The foyer is decorated in marble, with windows by Leonard French. In 2012–2013 the Library collection comprised 6,496,772 items, the Librarys collections of Australiana have developed into the nations single most important resource of materials recording the Australian cultural heritage. Australian writers, editors and illustrators are actively sought and well represented—whether published in Australia or overseas, approximately 92. 1% of the Librarys collection has been catalogued and is discoverable through the online catalogue. The Library has digitized over 174,000 items from its collection and, the Library is a world leader in digital preservation techniques, and maintains an Internet-accessible archive of selected Australian websites called the Pandora Archive. A core Australiana collection is that of John A. Ferguson, the Library has particular collection strengths in the performing arts, including dance. The Librarys considerable collections of general overseas and rare materials, as well as world-class Asian. The print collections are further supported by extensive microform holdings, the Library also maintains the National Reserve Braille Collection. The Library has acquired a number of important Western and Asian language scholarly collections from researchers, williams Collection The Asian Collections are searchable via the National Librarys catalogue. The National Library holds a collection of pictures and manuscripts. The manuscript collection contains about 26 million separate items, covering in excess of 10,492 meters of shelf space, the collection relates predominantly to Australia, but there are also important holdings relating to Papua New Guinea, New Zealand and the Pacific. The collection also holds a number of European and Asian manuscript collections or single items have received as part of formed book collections. Examples are the papers of Alfred Deakin, Sir John Latham, Sir Keith Murdoch, Sir Hans Heysen, Sir John Monash, Vance Palmer and Nettie Palmer, A. D. Hope, Manning Clark, David Williamson, W. M. The Library has also acquired the records of many national non-governmental organisations and they include the records of the Federal Secretariats of the Liberal party, the A. L. P, the Democrats, the R. S. L. Finally, the Library holds about 37,000 reels of microfilm of manuscripts and archival records, mostly acquired overseas and predominantly of Australian, the National Librarys Pictures collection focuses on Australian people, places and events, from European exploration of the South Pacific to contemporary events. Art works and photographs are acquired primarily for their informational value, media represented in the collection include photographs, drawings, watercolours, oils, lithographs, engravings, etchings and sculpture/busts
32.
Netherlands Institute for Art History
–
The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation, archives, and books on Western art from the late Middle Ages until modern times, all of this is open to the public, and much of it has been digitized and is available on their website. The main goal of the bureau is to collect, categorize, via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries. The library owns approximately 450,000 titles, of which ca.150,000 are auction catalogs, there are ca.3,000 magazines, of which 600 are currently running subscriptions. Though most of the text is in Dutch, the record format includes a link to library entries and images of known works. The RKD also manages the Dutch version of the Art and Architecture Thesaurus, the original version is an initiative of the Getty Research Institute in Los Angeles, California. Their bequest formed the basis for both the art collection and the library, which is now housed in the Koninklijke Bibliotheek. Though not all of the holdings have been digitised, much of its metadata is accessible online. The website itself is available in both a Dutch and an English user interface, in the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record, usually of the form, https, for example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number, to reference an artwork page directly, use the code listed at the bottom of the record, usually of the form, https, //rkd. nl/en/explore/images/ followed by the artworks record number. For example, the record number for The Night Watch is 3063. The Art and Architecture Thesaurus also assigns a record for each term, rather, they are used in the databases and the databases can be searched for terms. For example, the painting called The Night Watch is a militia painting, the thesaurus is a set of general terms, but the RKD also contains a database for an alternate form of describing artworks, that today is mostly filled with biblical references. To see all images that depict Miriams dance, the associated iconclass code 71E1232 can be used as a search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
.jpg)
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Daubigny, Charles François". Encyclopædia Britannica. 7 (11th ed.). Cambridge University Press. p. 847.
