1.
Painting
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Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
2.
Louis XIV of France
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Louis XIV, known as Louis the Great or the Sun King, was a monarch of the House of Bourbon who ruled as King of France and Navarre from 1643 until his death in 1715. His reign of 72 years and 110 days is the longest of any monarch of a country in European history. In the age of absolutism in Europe, Louis XIVs France was a leader in the centralization of power. Louis began his rule of France in 1661, after the death of his chief minister. By these means he became one of the most powerful French monarchs, under his rule, the Edict of Nantes, which granted rights to Huguenots, was abolished. The revocation effectively forced Huguenots to emigrate or convert in a wave of dragonnades, which managed to virtually destroy the French Protestant minority. During Louis reign, France was the leading European power, and it fought three wars, the Franco-Dutch War, the War of the League of Augsburg. There were also two lesser conflicts, the War of Devolution and the War of the Reunions, warfare defined Louis XIVs foreign policies, and his personality shaped his approach. Impelled by a mix of commerce, revenge, and pique, in peacetime he concentrated on preparing for the next war. He taught his diplomats their job was to create tactical and strategic advantages for the French military, Louis XIV was born on 5 September 1638 in the Château de Saint-Germain-en-Laye, to Louis XIII and Anne of Austria. He was named Louis Dieudonné and bore the title of French heirs apparent. At the time of his birth, his parents had married for 23 years. His mother had experienced four stillbirths between 1619 and 1631, leading contemporaries thus regarded him as a divine gift and his birth a miracle of God. Sensing imminent death, Louis XIII decided to put his affairs in order in the spring of 1643, in defiance of custom, which would have made Queen Anne the sole Regent of France, the king decreed that a regency council would rule on his sons behalf. His lack of faith in Queen Annes political abilities was his primary rationale and he did, however, make the concession of appointing her head of the council. Louis relationship with his mother was uncommonly affectionate for the time, contemporaries and eyewitnesses claimed that the Queen would spend all her time with Louis. Both were greatly interested in food and theatre, and it is likely that Louis developed these interests through his close relationship with his mother. This long-lasting and loving relationship can be evidenced by excerpts in Louis journal entries, such as, but attachments formed later by shared qualities of the spirit are far more difficult to break than those formed merely by blood
3.
Nicolas Poussin
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Nicolas Poussin was the leading painter of the classical French Baroque style, although he spent most of his working life in Rome. His work is characterized by clarity, logic, and order, until the 20th century he remained a major inspiration for such classically oriented artists as Jacques-Louis David, Jean-Auguste-Dominique Ingres and Paul Cézanne. He worked in Rome for a circle of leading collectors from there and elsewhere, most of his works are history paintings of religious or mythological subjects that very often have a large landscape element. Early sketches attracted the notice of Quentin Varin, a painter, whose pupil Poussin became. There he entered the studios of the Flemish painter Ferdinand Elle and then of Georges Lallemand and he found French art in a stage of transition, the old apprenticeship system was disturbed, and the academic training destined to supplant it was not yet established by Simon Vouet. In Paris, Poussin was impressed by Italian art he viewed in the royal collection and he attempted to travel to Rome, but after reaching Florence he was forced, perhaps by ill health, to return to Paris. In 1622 he met Giambattista Marino, the poet to Marie de Medici. Marino employed him on illustrations for an edition of Ovids Metamorphoses. These Marino drawings preserved at Windsor Castle are among the few identifiable works of Poussin executed before his arrival in Rome. Marino took him into his household, and in 1624 enabled Poussin to rejoin him at Rome, Poussin was thirty when he arrived in Rome in 1624. At first he lodged with Simon Vouet, through Marino, he had been introduced to Marcello Sacchetti who in turn introduced him to another of his early patrons, Cardinal Francesco Barberini. However, their return from Spain in 1626 stabilized Poussin’s position, with renewed patronage by the Barberini and their circle. He fell ill at this time and was taken into the house of his compatriot Jacques Dughet, where he was nursed by Dughet’s daughter, Anna Maria and his two brothers-in-law were artists and Gaspard Dughet later took Poussin’s surname. During the late 1620s and 1630s, he experimented and formulated his own style and he studied the Antique as well as works such as Titian’s Bacchanals at the Casino Ludovisi and the paintings of Domenichino and Guido Reni. Peter’s, and an ingenious architectural imagination was emerging in works by Borromini, at the time the papacy was Rome’s foremost patron of the arts. Poussin’s Martyrdom of St. Erasmus for St and his subsequent career depended on private patronage. Louis XIII conferred on him the title of First Painter in Ordinary, in 1642, disgusted by the intrigues of Simon Vouet, Fouquières and the architect Jacques Lemercier, Poussin withdrew to Rome. There, in 1648, he finished for de Chantelou the second series of the Seven Sacraments and this painting shows the philosopher discarding his last worldly possession, his cup, after watching a man drink water by cupping his hands
4.
Ponce, Puerto Rico
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Ponce is both a city and a municipality in the southern part of Puerto Rico. The city is the seat of the municipal government, Ponce, Puerto Ricos most populated city outside the San Juan metropolitan area, is named for Juan Ponce de León y Loayza, the great-grandson of Spanish conquistador Juan Ponce de León. Ponce is often referred to as La Perla del Sur, La Ciudad Señorial, the city serves as the governmental seat of the autonomous municipality as well as the regional hub for various Government of Puerto Rico entities, such as the Judiciary of Puerto Rico. It is also the center for various other commonwealth and federal government agencies. The municipality has a total of 31 barrios, including 19 outside the urban area and 12 in the urban area of the city. Ponce is a city of both the Ponce Metropolitan Statistical Area and the Ponce-Yauco-Coamo Combined Statistical Area. The municipality of Ponce is the second largest in Puerto Rico by land area, the region of what is now Ponce belonged to the Taíno Guaynia region, which stretched along the southern coast of Puerto Rico. Agüeybaná, a cacique who led the region, was among those that greeted Spanish conquistador Juan Ponce de León when he came to the island in 1508. Archeological findings have identified four sites within the municipality of Ponce with archeological significance, Canas, Tibes, Caracoles, during the first years of the colonization, Spanish families started settling around the Jacaguas River, in the south of the island. For security reasons, these moved to the banks of the Rio Portugués. Starting around 1646 the whole area from the Rio Portugués to the Bay of Guayanilla was called Ponce, in 1670, a small chapel was raised in the middle of the small settlement and dedicated in honor of Our Lady of Guadalupe. Among its earliest settlers were Juan Ponce de León y Loayza, on September 17,1692, the King of Spain Carlos II issued a Cédula Real converting the chapel into a parish, and in so doing officially recognizing the small settlement as a hamlet. It is believed that Juan Ponce de León y Loayza, Juan Ponce de Leóns great-grandson, was instrumental in obtaining the permit to formalize the founding of the hamlet. Captains Enrique Salazar and Miguel del Toro where also instrumental, the city is named after Juan Ponce de León y Loayza, the great-grandson of Spanish conquistador Juan Ponce de León. In the early 18th century Don Antonio Abad Rodriguez Berrios built a chapel under the name of San Antonio Abad. The area would receive the name of San Antón, a historically important part of modern Ponce. In 1712 the village was chartered as El Poblado de Nuestra Señora de Guadalupe de Ponce, in the early 19th century, Ponce continued to be one of dozens of hamlets that dotted the Island. Its inhabitants survived by subsistence agriculture, cattle raising, and maritime contraband with foreigners, however, in the 1820s, three events took place that dramatically changed the size of the town forever
5.
Hall of Mirrors
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The Hall of Mirrors is the central gallery of the Palace of Versailles in Versailles, France. As the principal and most remarkable feature of King Louis XIV of Frances third building campaign of the Palace of Versailles, the principal feature of this hall is the seventeen mirror-clad arches that reflect the seventeen arcaded windows that overlook the gardens. Each arch contains twenty-one mirrors with a complement of 357 used in the decoration of the galerie des glaces. The arches themselves are fixed between marble pilasters whose capitals depict the symbols of France and these gilded bronze capitals include the fleur-de-lys and the Gallic cockerel or rooster. In the 17th century, mirrors were among the most expensive items to possess at the time, according to legend, in order to keep its monopoly, the government of the Venetian Republic sent agents to France to poison the workers whom Colbert had brought to France. The Hall of Mirrors dimensions are 73.0 m ×10.5 m ×12.3 m and is flanked by the de la guerre. Construction on the galerie and its two salons continued until 1684, at time it was pressed into use for court. The ceiling decoration is dedicated to the policies and military victories of Louis XIV. The central panel of the ceiling, Le roi gouverne par lui-même alludes to the establishment of the reign of Louis XIV in 1661. The present decorative schema represents the last of three that were presented to Louis XIV, the original decorative plan was to have depicted the exploits of Apollo, being consistent with the imagery associated with the Sun-King, Louis XIV. The next decorative plan was one in which the exploits of Hercules — as allegories to the actions of Louis XIV — were to be depicted, again, as with the first plan, the Hercules theme was rejected by the king. The final plan represents military victories of Louis XIV starting with the Treaty of the Pyrenees to the Treaty of Nijmegen. In a departure from the decoration of the ceilings in the appartement du roi, Le Brun has depicted Louis XIV directly. In this way, themes such as governance and military prowess are rendered with Louis XIV himself as the key figure. During the 17th century, the Hall of Mirrors was used daily by Louis XIV when he walked from his apartment to the chapel. At this time, courtiers assembled to watch the king and members of the family pass. However, of all the events transpired in this room during the reign of Louis XIV. At this time, the galerie des glaces and the grands appartements were still appointed with silver furniture, in February 1715, Louis XIV held his last embassy in the galerie des glaces, one in which he received Mehemet Reza Bey, ambassador of the Shah of Persia
6.
Palace of Versailles
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The Palace of Versailles, Château de Versailles, or simply Versailles, is a royal château in Versailles in the Île-de-France region of France. Versailles is therefore not only as a building, but as a symbol of the system of absolute monarchy of the Ancien Régime. First built by Louis XIII in 1623, as a lodge of brick and stone. The first phase of the expansion was designed and supervised by the architect Louis Le Vau and it culminated in the addition of three new wings of stone, which surrounded Louis XIIIs original building on the north, south, and west. After Le Vaus death in 1670, the work was taken over and completed by his assistant, charles Le Brun designed and supervised the elaborate interior decoration, and André Le Nôtre landscaped the extensive Gardens of Versailles. Le Brun and Le Nôtre collaborated on the fountains, and Le Brun supervised the design. During the second phase of expansion, two enormous wings north and south of the wings flanking the Cour Royale were added by the architect Jules Hardouin-Mansart. He also replaced Le Vaus large terrace, facing the garden on the west, with became the most famous room of the palace. The Royal Chapel of Versailles, located at the end of the north wing, was begun by Mansart in 1688. One of the most baffling aspects to the study of Versailles is the cost – how much Louis XIV, owing to the nature of the construction of Versailles and the evolution of the role of the palace, construction costs were essentially a private matter. Initially, Versailles was planned to be a residence for Louis XIV and was referred to as the kings house. Once Louis XIV embarked on his campaigns, expenses for Versailles became more of a matter for public record. To counter the costs of Versailles during the years of Louis XIVs personal reign. Accordingly, all materials that went into the construction and decoration of Versailles were manufactured in France, even the mirrors used in the decoration of the Hall of Mirrors were made in France. While Venice in the 17th century had the monopoly on the manufacture of mirrors, to meet the demands for decorating and furnishing Versailles, Colbert nationalised the tapestry factory owned by the Gobelin family, to become the Manufacture royale des Gobelins. In 1667, the name of the enterprise was changed to the Manufacture royale des Meubles de la Couronne, the Comptes meticulously list the expenditures on the silver furniture – disbursements to artists, final payments, delivery – as well as descriptions and weight of items purchased. Entries for 1681 and 1682 concerning the silver used in the salon de Mercure serve as an example. 5 In anticipation, For the silver balustrade for the bedroom,90,000 livres II
7.
Simon Vouet
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Simon Vouet was a French painter and draftsman, who today is perhaps best remembered for helping to introduce the Italian Baroque style of painting to France. Simon Vouet was born on January 9,1590 in Paris and his father Laurent was a painter in Paris and taught him the rudiments of art. Simons brother Aubin Vouet and his grandson Ludovico Dorigny were also painters, Simon began his painting career as a portrait painter. At a young age he travelled to England and was part of the entourage of the Baron de Sancy, from there he went to Venice and was in Rome in 1614. He spent a period of time in Italy, from 1613 to 1627. He was mostly in Rome where the Baroque style was emerging during these years and he received a pension from the King of France and his patrons included the Barberini family, Cassiano dal Pozzo, Paolo Giordano Orsini and Vincenzo Giustiniani. He also visited other parts of Italy, Venice, Bologna, Genoa, Vouets immense success in Rome led to his election as president of the Accademia di San Luca in 1624. In 1626 he married Virginia da Vezzo who modelled Madonnas for Vouets religious commissions, despite his success in Rome, Vouet suddenly returned to France in 1627, following pressing recommendations from the Duc de Béthunes and a summons from the King. Vouets new style was distinctly Italian, importing the Italian Baroque style into France, in 1632, he worked for Cardinal Richelieu at the Palais-Royal and the Château de Malmaison. In Paris, Vouet was the dominating force in French painting, producing numerous public altarpieces. Vouets other students included Valentin de Boulogne, Charles Alphonse du Fresnoy, Pierre Mignard, Eustache Le Sueur, Nicolas Chaperon, Claude Mellan, Vouet was also a friend of Claude Vignon. A number of Vouets decorative schemes have been lost but are recorded in engravings by Claude Mellan,1990, retrospective of Simon Vouets work at the Galeries nationales of the Grand Palais. 2002-2003, Simon Vouet ou léloquence sensible at the Musée des Beaux-Arts de Nantes, 2008-2009, Simon Vouet, les années italiennes, Musée des Beaux-Arts de Nantes, in collaboration with the Musée des Beaux-Arts et darchéologie de Besançon
8.
Cardinal Richelieu
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Cardinal Armand Jean du Plessis, Duke of Richelieu and Fronsac, commonly referred to as Cardinal Richelieu, was a French clergyman, nobleman, and statesman. He was consecrated as a bishop in 1607 and was appointed Foreign Secretary in 1616, Richelieu soon rose in both the Catholic Church and the French government, becoming a cardinal in 1622, and King Louis XIIIs chief minister in 1624. He remained in office until his death in 1642, he was succeeded by Cardinal Mazarin, Cardinal de Richelieu was often known by the title of the kings Chief Minister or First Minister. He sought to consolidate power and crush domestic factions. By restraining the power of the nobility, he transformed France into a strong and his chief foreign policy objective was to check the power of the Austro-Spanish Habsburg dynasty, and to ensure French dominance in the Thirty Years War that engulfed Europe. Although he was a cardinal, he did not hesitate to make alliances with Protestant rulers in attempting to achieve his goals. While a powerful figure, events like the Day of the Dupes show that in fact he very much depended on the kings confidence to keep this power. As alumnus of the University of Paris and headmaster of the Collège de Sorbonne, Richelieu was also famous for his patronage of the arts, most notably, he founded the Académie Française, the learned society responsible for matters pertaining to the French language. Richelieu is also known by the sobriquet lÉminence rouge, from the red shade of a cardinals clerical dress and this in part allowed the colony to eventually develop into the heartland of Francophone culture in North America. He is also a character in The Three Musketeers by Alexandre Dumas. Born in Paris, Armand du Plessis was the fourth of five children, at the age of nine, young Richelieu was sent to the College of Navarre in Paris to study philosophy. Thereafter, he began to train for a military career and his private life seems to have been typical of a young officer of the era, in 1605, aged twenty, he was treated by Théodore de Mayerne for gonorrhea. King Henry III had rewarded Richelieus father for his participation in the Wars of Religion by granting his family the bishopric of Luçon. The family appropriated most of the revenues of the bishopric for private use, they were, however, challenged by clergymen, to protect the important source of revenue, Richelieus mother proposed to make her second son, Alphonse, the bishop of Luçon. Alphonse, who had no desire to become a bishop, became instead a Carthusian monk, thus, it became necessary that the younger Richelieu join the clergy. He had strong interests, and threw himself into studying for his new post. In 1606 King Henry IV nominated Richelieu to become Bishop of Luçon, as Richelieu had not yet reached the canonical minimum age, it was necessary that he journey to Rome for a special dispensation from the Pope. This secured, Richelieu was consecrated bishop in April 1607, soon after he returned to his diocese in 1608, Richelieu was heralded as a reformer
9.
Anne of Austria
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Anne of Austria was queen consort of France and Navarre, regent for her son, Louis XIV of France, and a Spanish and Portuguese Infanta by birth. During her regency, Cardinal Mazarin served as Frances chief minister, born at Benavente Palace in Valladolid, Spain, and baptised Ana María Mauricia, she was the eldest daughter of King Philip III of Spain and his wife Margaret of Austria. She held the titles of Infanta of Spain and of Portugal, in spite of her birth in Spain, she was referred to as Anne of Austria because the rulers of Spain belonged to the House of Austria. Anne was raised mainly at the Royal Alcazar of Madrid, exceptionally for a royal princess, Anne grew up close to her parents, who were very religious. She was raised to be too, and was often taken to visit monasteries during her childhood. In 1611, she lost her mother, who died in childbirth, despite her grief, Anne did her best to take care of her younger siblings, who referred to her with affection as their mother. Anne was betrothed at age eleven to King Louis XIII of France and her father gave her a dowry of 500,000 crowns and many beautiful jewels. For fear that Louis XIII would die early, the Spanish court stipulated that she would return to Spain with her dowry, jewels, and wardrobe if he did die. On 24 November 1615, Louis and Anne were married by proxy in Burgos while Louiss sister, Elisabeth of France, Anne and Elisabeth were exchanged on the Isle of Pheasants between Hendaye and Fuenterrabía. She was lively and beautiful during her youth and she was also a noted equestrian, a taste her son, Louis, would inherit. At the time, Anne had many admirers, including the handsome Duke of Buckingham, Anne and Louis, both fourteen years old, were pressured to consummate their marriage in order to forestall any possibility of future annulment, but Louis ignored his bride. Louiss mother, Marie de Medici, continued to conduct herself as queen of France, Anne, surrounded by her entourage of high-born Spanish ladies-in-waiting, continued to live according to Spanish etiquette and failed to improve her French. During the years he was in the ascendancy, the Duke of Luynes attempted to remedy the formal distance between Louis and his queen, Anne began to dress in the French manner, and in 1619 Luynes pressed the king to bed his queen. Some affection developed, to the point where it was noted that Louis was distracted during an illness of the queen. A series of stillbirths disenchanted the king and served to chill their relations, on 14 March 1622, while playing with her ladies, Anne fell on a staircase and suffered her second stillbirth. Louis blamed her for the incident and was angry with the Duchess of Luynes for having encouraged the queen in what was seen as negligence. Henceforth, the king had less tolerance for the influence that the duchess had over Anne, Louis turned now to Cardinal Richelieu as his advisor. Under the influence of Marie de Rohan-Montbazon, the queen let herself be drawn into political opposition to Richelieu, in 1635, France declared war on Spain, placing the queen in an untenable position
10.
Vaux-le-Vicomte
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The Château de Vaux-le-Vicomte is a baroque French château located in Maincy, near Melun,55 kilometres southeast of Paris in the Seine-et-Marne département of France. At Vaux-le-Vicomte, the architect Louis Le Vau, the landscape architect André le Nôtre, and their collaboration marked the beginning of the Louis XIV style combining architecture, interior design and landscape design. The gardens pronounced visual axis is an example of this style, Fouquet was an avid patron of the arts, attracting many artists with his generosity. When Fouquet became King Louis XIVs superintendent of finances in 1657, he commissioned Le Vau, Le Brun and Le Nôtre to renovate his estate, fouquet’s artistic and cultivated personality subsequently brought out the best in the three. To secure the necessary grounds for the plans for Vaux-le-Vicomte’s garden and castle. The displaced villagers were employed in the upkeep and maintenance of the gardens. It was said to have employed 18 thousand workers and cost as much as 16 million livres, the château and its patron became for a short time a focus for fine feasts, literature and arts. The poet Jean de La Fontaine and the playwright Molière were among the close to Fouquet. At the inauguration of Vaux-le-Vicomte, a Molière play was performed, along with an event organized by François Vatel. The celebration had been too impressive and the superintendents home too luxurious, Fouquets intentions were to flatter the king, part of Vaux-le-Vicomte was actually constructed specifically for the king, but Fouquets plan backfired. Jean-Baptiste Colbert led the king to believe that his ministers magnificence was funded by the misappropriation of public funds, Colbert, who then replaced Fouquet as superintendent of finances, arrested him. Later, Voltaire was to sum up the famous fête, On 17 August, at six in the evening Fouquet was the King of France, La Fontaine wrote describing the fête and shortly afterwards penned his Elégie aux nymphes de Vaux. After Fouquet was arrested and imprisoned for life and his wife exiled, the king seized, confiscated or purchased 120 tapestries, the statues and all the orange trees from Vaux-le-Vicomte. He then sent the team of artists to design what would be a larger project than Vaux-le-Vicomte. Madame Fouquet recovered her property 10 years later and retired there with her eldest son, in 1705, after the death of her husband and son, she decided to put Vaux-le-Vicomte up for sale. Marshal Claude Louis Hector de Villars became the new owner without first seeing the chateau, in 1764, the Marshals son sold the estate to the Duke of Praslin, whose descendants would maintain the property for over a century. In 1875, after thirty years of neglect, the estate was sold to Alfred Sommier in a public auction, the château was empty, some of the outbuildings had fallen into ruin and the famous gardens were totally overgrown. The huge task of restoration and refurbishment began under the direction of the architect Gabriel-Hippolyte Destailleur, when Sommier died in 1908, the château and the gardens had recovered their original appearance
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Williamson, George Charles (1910). "Charles Lebrun". In Herbermann, Charles. Catholic Encyclopedia. 9. New York: Robert Appleton Company.
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