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Painting
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Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
2.
Aesthetics
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Aesthetics is a branch of philosophy that explores the nature of art, beauty, and taste, with the creation and appreciation of beauty. It is more defined as the study of sensory or sensori-emotional values, sometimes called judgements of sentiment. More broadly, scholars in the field define aesthetics as critical reflection on art, in modern English, the term aesthetic can also refer to a set of principles underlying the works of a particular art movement or theory, one speaks, for example, of the Cubist aesthetic. The word aesthetic is derived from the Greek αἰσθητικός, which in turn was derived from αἰσθάνομαι, for some, aesthetics is considered a synonym for the philosophy of art since Hegel, while others insist that there is a significant distinction between these closely related fields. In practice, aesthetic judgement refers to the sensory contemplation or appreciation of an object, philosophical aesthetics has not only to speak about art and to produce judgments about art works, but has also to give a definition of what art is. Art is an entity for philosophy, because art deals with the senses. Hence, there are two different conceptions of art in aesthetics, art as knowledge or art as action, any aesthetic doctrines that guided the production and interpretation of prehistoric art are mostly unknown. Western aesthetics usually refers to Greek philosophers as the earliest source of aesthetic considerations. Plato believed in beauty as a form in which beautiful objects partake and he felt that beautiful objects incorporated proportion, harmony, and unity among their parts. Similarly, in the Metaphysics, Aristotle found that the elements of beauty were order, symmetry. From the late 17th to the early 20th century Western aesthetics underwent a revolution into what is often called modernism. German and British thinkers emphasized beauty as the key component of art and of the aesthetic experience, and saw art as necessarily aiming at absolute beauty. For Alexander Gottlieb Baumgarten aesthetics is the science of the experiences, a younger sister of logic. For Immanuel Kant the aesthetic experience of beauty is a judgment of a subjective but similar human truth, however, beauty cannot be reduced to any more basic set of features. For Friedrich Schiller aesthetic appreciation of beauty is the most perfect reconciliation of the sensual and rational parts of human nature, for Friedrich Wilhelm Joseph Schelling, the philosophy of art is the organon of philosophy concerning the relation between man and nature. So aesthetics began now to be the name for the philosophy of art, Friedrich von Schlegel, August Wilhelm Schlegel, Friedrich Schleiermacher and Georg Wilhelm Friedrich Hegel also gave lectures on aesthetics as philosophy of art after 1800. For Hegel, all culture is a matter of absolute spirit coming to be manifest to itself, stage by stage, Art is the first stage in which the absolute spirit is manifest immediately to sense-perception, and is thus an objective rather than subjective revelation of beauty. It is thus for Schopenhauer one way to fight the suffering, the British were largely divided into intuitionist and analytic camps
3.
Court painter
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A court painter was an artist who painted for the members of a royal or noble family, sometimes on a fixed salary and on an exclusive basis where the artist was not supposed to undertake other work. Especially in the late Middle Ages, they were given the office of valet de chambre. Usually they were given a salary and formal title, and often a pension for life, in England the role of Serjeant Painter was set up for this, leaving the Kings painter free to paint mostly portraits. See category of Italian art collectors for lists that included non-aristocratic patrons, some artists, like Jan van Eyck or Diego Velázquez, were used in other capacities at court, as diplomats, functionaries, or administrators. In Islamic cultures, especially between the 14th and 17th centuries, similar arrangements operated for miniaturists and artists in other media. In the Persian miniature, the shah and other rulers typically maintained a workshop or atelier, of calligraphers, miniaturists, binders and other crafts. The name by which Riza Abbasi is usually includes the honorific title Abbasi. Abd as-Samad, a Persian painter who moved to the Mughal Empire, was given a number of significant administrative jobs, the court remained the focus of patronage of painting in the sub-Mughal princely courts of India, whether Muslim or Hindu. At many periods rulers owned or controlled royal workshops or factories making high-quality tapestries, porcelain or pottery, silks and this was especially the case in China and in the Byzantine Empire. Le Brun dominated, and largely created, the style found throughout Louis XIVs palaces, by the 20th century court painters was an obsolete position. Commonly more artists were granted permission by royalty who would sit for official portraits whether for private of patron purposes, Artists of the Tudor Court 21st Century Court Artists Michael Levey, Painting at Court, Weidenfeld and Nicholson, London,1971
4.
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
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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
6.
Residenzgalerie
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The Residenzgalerie is an art gallery in the Alte Residenz, Salzburg, Austria. Its collection includes works by Rembrandt, Carel Fabritius, Carlo Saraceni, the state-owned Residenzgalerie provides a cross-section of painting from the 16th to the 19th centuries. It bears similarities with the painting collection of Prince-Archbishop Hieronymus Colloredo. After 1800, however, this collection was plundered during the French Wars. In the age of the monarchy, many of the works were transferred from Salzburg to Vienna, a new collection was proposed shortly after the First World War by a group of Salzburg artists, and the Residenzgalerie was opened in 1923. The centrepiece of the Residenzgalerie is the Czernin Collection and this was first exhibited at the gallery in 1954, initially on loan and then bought outright between 1980 and 1991. Its paintings by 17th-century artists are principally Dutch, but also Italian, Spanish, assembled between 1800 and 1845, the collections original owner was Count Johann Rudolf Czernin von und zu Chudenitz, who studied law in Salzburg and was related to Archbishop Hieronymus Colloredo. The Residenzgalerie is a member of Private Art Collections, a group of collections in Europe which exchange artworks and co-operate on joint exhibitions, other members include the Liechtenstein Museum in Vienna, the Academy of Fine Arts Vienna, and the Museo Poldi Pezzoli in Milan
7.
Museo de Arte de Ponce
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Museo de Arte de Ponce is an art museum located on Avenida Las Americas in Ponce, Puerto Rico. It houses a collection of European art, as well as work by Puerto Rican artists, the museum contains one of the most important Pre-Raphaelite collections in the Western Hemisphere, holding some 4,500 pieces of art distributed among fourteen galleries. Museo de Arte de Ponce is considered one of the finest art museums in Puerto Rico, the largest art museum in the Caribbean, it has also been called one of the best in the Americas. It was the first museum in Puerto Rico accredited by the American Alliance of Museums and it was founded in 1959 by industrialist and philanthropist Luis A. Ferré at a location in the Ponce Historic Zone. The museum moved to its current building location on Avenida Las Americas in 1965, in 2010, the museum increased its size significantly after a $30M expansion. With the advice of two experts – Julius S. Ferré would state in a Forbes interview that the scholars and critics all called it kitsch, everyone thought I was crazy to buy them. On January 3,1959, Ferré opened the museum at a house at 70 Cristina Street in Ponce at what is today the Centro Cultural de Ponce, some of these original paintings continue to be on display today. As time passed and the gained popularity, additional works of art were added to the collections. In 1962, the Samuel H. Kress Foundation donated 15 paintings to the museum, by 1989, the museums collection had grown to 500 pieces, with a then estimated value of $50 million, equivalent to $96.6 million in present-day terms. On April 23,1964 the first stone was placed and the construction of the museum began and it was finished in 1965 and officially opened on December 28,1965. One of the features of the museum is its hexagonal galleries. The museum contained a total of 14 galleries, two gardens, and an amphitheater, and its entrance with bifurcated ladders. The museum was closed from 2008 to 2010 while undergoing renovations, re-opening in time for the celebration of its 50th anniversary on November 13,2010, after a $30 million in improvements. In the meantime, the museum exhibitions in San Juans Plaza Las Américas. The construction work was both a renovation of the structure and an expansion, increasing the size of the museum by more than 40%. The $20-turn-$30 million renovation included a new building to house a historic archive. After the expansion the total footage of the museum came to 77,745 square feet. The expansion intended to provided facilities for educational purposes and an art history library as well as to room for a museum shop
8.
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
9.
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
10.
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
11.
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
12.
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
13.
Rome
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Rome is a special comune and the capital of Italy. Rome also serves as the capital of the Lazio region, with 2,873,598 residents in 1,285 km2, it is also the countrys largest and most populated comune and fourth-most populous city in the European Union by population within city limits. It is the center of the Metropolitan City of Rome, which has a population of 4.3 million residents, the city is located in the central-western portion of the Italian Peninsula, within Lazio, along the shores of the Tiber. Romes history spans more than 2,500 years, while Roman mythology dates the founding of Rome at only around 753 BC, the site has been inhabited for much longer, making it one of the oldest continuously occupied sites in Europe. The citys early population originated from a mix of Latins, Etruscans and it was first called The Eternal City by the Roman poet Tibullus in the 1st century BC, and the expression was also taken up by Ovid, Virgil, and Livy. Rome is also called the Caput Mundi, due to that, Rome became first one of the major centres of the Italian Renaissance, and then the birthplace of both the Baroque style and Neoclassicism. Famous artists, painters, sculptors and architects made Rome the centre of their activity, in 1871 Rome became the capital of the Kingdom of Italy, and in 1946 that of the Italian Republic. Rome has the status of a global city, Rome ranked in 2014 as the 14th-most-visited city in the world, 3rd most visited in the European Union, and the most popular tourist attraction in Italy. Its historic centre is listed by UNESCO as a World Heritage Site, monuments and museums such as the Vatican Museums and the Colosseum are among the worlds most visited tourist destinations with both locations receiving millions of tourists a year. Rome hosted the 1960 Summer Olympics and is the seat of United Nations Food, however, it is a possibility that the name Romulus was actually derived from Rome itself. As early as the 4th century, there have been alternate theories proposed on the origin of the name Roma. There is archaeological evidence of occupation of the Rome area from approximately 14,000 years ago. Evidence of stone tools, pottery and stone weapons attest to about 10,000 years of human presence, several excavations support the view that Rome grew from pastoral settlements on the Palatine Hill built above the area of the future Roman Forum. Between the end of the age and the beginning of the Iron age. However, none of them had yet an urban quality, nowadays, there is a wide consensus that the city was gradually born through the aggregation of several villages around the largest one, placed above the Palatine. All these happenings, which according to the excavations took place more or less around the mid of the 8th century BC. Despite recent excavations at the Palatine hill, the view that Rome has been indeed founded with an act of will as the legend suggests in the middle of the 8th century BC remains a fringe hypothesis. Traditional stories handed down by the ancient Romans themselves explain the earliest history of their city in terms of legend and myth
14.
Superintendent Fouquet
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Nicolas Fouquet, marquis de Belle-Île, vicomte de Melun et Vaux was the Superintendent of Finances in France from 1653 until 1661 under King Louis XIV. He had a career, and acquired enormous wealth. He fell out of favor, accused of peculation and lèse-majesté, the king had him imprisoned from 1661 until his death in 1680. While still in his teens, he held positions of responsibility. In 1640, he married the rich Louise Fourché, who died a year later, during Mazarins exile, Fouquet remained loyal to him, protecting his property and keeping him informed of the situation at court. Fouquet received around 160,000 Livres from the marriage dowry, as minister of finance, he soon had Mazarin almost in the position of a supplicant. His closest friend, and maybe mistress, was Suzanne de Rougé, Colbert, perhaps seeking to succeed Fouquet, fed the kings displeasure with adverse reports upon the deficit and made the worst of the case against Fouquet. The extravagant expenditures and displays of the superintendents wealth served to intensify the ill will of the king, Fouquet had bought the port of Belle-Île-en-Mer and strengthened the fortifications with a view to taking refuge there in case of disgrace. Here he gathered the rarest manuscripts, paintings, jewels and antiques in profusion, the table was open to all people of quality, and the kitchen was presided over by François Vatel. Jean de La Fontaine, Pierre Corneille and Paul Scarron were a few of the artists who enjoyed his patronage. The coat of arms of Fouquets family traditionally showed a squirrel, the symbol can be found in many rooms and decorations at Vaux-le-Vicomte. The choice of this animal derives from the name foucquet, which in the dialect of Angers means squirrel, by August 1661, Louis XIV was already set upon Fouquets destruction. Louis was entertained at Vaux with a fête rivaled in magnificence by only one or two others in French history, at which Molières Les Fâcheux was produced for the first time, the splendour of the entertainment sealed Fouquets fate. But the king, then only 22 years old, was afraid to act openly against so powerful a minister, as Superintendent, Fouquet headed the enormously wealthy and influential corps of partisans, who, if challenged as a group, could have caused the king serious trouble. By crafty devices, Fouquet was induced to sell his office of procureur général, thus losing the protection of its privileges, after his visit to Vaux, the king announced that he was going to Nantes for the opening of the meeting of the provincial estates of Brittany. He required his ministers, including Fouquet, to go with him, when Fouquet was leaving the council chamber, flattered with the assurance of the kings esteem, he was arrested by Charles de Batz-Castelmore dArtagnan, lieutenant of the kings musketeers. The trial lasted almost three years, and its violation of the forms of justice is still the subject of frequent monographs by members of the French bar, Louis acted throughout as though he were conducting a campaign, evidently fearing that Fouquet would play the part of a Richelieu. A report of his trial was published in the Netherlands, in 15 volumes, in 1665-67, a second edition under the title of Oeuvres de M. Fouquet appeared in 1696
15.
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
16.
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
17.
Cardinal Mazarin
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Mazarin succeeded his mentor, Cardinal Richelieu. He was a collector of art and jewels, particularly diamonds. His personal library was the origin of the Bibliothèque Mazarine in Paris, some of these principles, such as the nation states sovereignty over its territory and domestic affairs and the legal equality among states, remain the basis of international law to this day. Giulio Raimondo Mazzarino was born in Pescina, then part of the Kingdom of Naples, giulio was the older brother of Michele Mazzarino, Master of the Sacred Palace under Pope Urban VIII, and later Archbishop of Aix-en-Provence and a cardinal. Contemporary John Bargrave suggested that his father Pietro Mazzarini had lost a significant amount of money during a transaction and was forced to flee to Rome. Regardless, Pietro was a notary who made use of his connections to the Colonna once he arrived in Rome and became chamberlain to the Constable Filippo I Colonna and he had a younger sister, Laura Margherita Mazzarini. Mazarin studied at the Jesuit College in Rome, though he declined to join their order, at seventeen he accompanied Girolamo Colonna, one of the sons of Filippo I Colonna, to the university of Alcalá de Henares in Spain, to serve as his chamberlain. His stay was brief, a notary who had advanced some cash to cover gaming debts urged the charming and personable young Mazarino to take his daughter as bride, with a substantial dowry. Later Mazarin frequented the University of Rome La Sapienza, gaining the title of Doctor in jurisprudence, Mazarin followed Filippo I Colonna as captain of infantry in his regiment during the war in Monferrato of 1628, over the succession to Mantua. During this war he gave proofs of much ability, and Pope Urban VIII entrusted him, in 1629. At the time Anna Colonna, daughter of Filippo I Colonna, was married to Urbans nephew Taddeo Barberini, and the Pope now made her brother, Girolamo Colonna, Archbishop of Albano and a new cardinal. The Cardinal was sent to Monferrat as papal legate, to treat of peace between France and Spain in the matter of Mantua, and insisted that Mazarin be attached to his legation as secretary. As papal vice-legate at Avignon, and nuncio extraordinary in France, under Habsburg pressure, Mazarin was sent back to Avignon, where he was dismissed by Urban VIII on 17 January 1636. Richelieu, who felt the weight of his years, though he was as assiduous in the Kings service as ever, detected in Mazarin a likely aide in carrying on government. He confided to the man several sensitive missions, in which Mazarin acquitted himself well, then presented him to the King. He attributed his winnings to the Queens presence, and in thanks, the Queen demurred, Mazarin pressed, and she accepted. Several days later, Mazarin quietly received a deal more than he had given. Thus he was affirmed in the favour of the King, the court and above all of Anne of Austria, who would soon be regent
18.
Jean-Baptiste Colbert
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Jean-Baptiste Colbert was a French politician who served as the Minister of Finances of France from 1665 to 1683 under the rule of King Louis XIV. His relentless hard work and thrift made him an esteemed minister and he achieved a reputation for his work of improving the state of French manufacturing and bringing the economy back from the brink of bankruptcy. Historians note that, despite Colberts efforts, France actually became increasingly impoverished because of the Kings excessive spending on wars, Colbert worked to create a favourable balance of trade and increase Frances colonial holdings. He also founded royal tapestry works at Gobelins and supported those at Beauvais, Colbert worked to develop the domestic economy by raising tariffs and by encouraging major public works projects. Colbert also worked to ensure that the French East India Company had access to markets, so that they could always obtain coffee, cotton, dyewoods, fur, pepper. In addition, Colbert founded the French merchant marine, Colbert issued more than 150 edicts to regulate the guilds. One such law had the intention of improving the quality of cloth, the edict declared that if the authorities found a merchants cloth unsatisfactory on three separate occasions, they were to tie him to a post with the cloth attached to him. Colberts father and grandfather operated as merchants in his birthplace of Reims and he claimed to have Scottish ancestry. A general belief exists that he spent his youth at a Jesuit college, working for a Parisian banker. Before the age of 20, Colbert had a post in the war office, Colbert spent some time as an inspector of troops, eventually becoming the personal secretary of Le Tellier. In 1647, through means, Colbert acquired the confiscated goods of an uncle. In 1648, he and his wife Marie Charron, received 40,000 crowns from an unknown source, in 1657, he purchased the Barony of Seignelay. Colbert was recommended to King Louis XIV by Mazarin, while Cardinal Mazarin was in exile, Louis trust in Colbert grew. In 1652 Colbert was asked to manage the affairs of the Cardinal while he was away and this new responsibility would detach Colbert from his other responsibility as commissaire des guerres. Although Colbert was not a supporter of Mazarin in principle, he would defend the cardinals interests with unflagging devotion. Colberts earliest recorded attempt at tax reform came in the form of a mémoire to Mazarin, showing that of the taxes paid by the people, the paper also contained an attack upon the Superintendent Fouquet. The postmaster of Paris, a spy of Fouquets, read the letter, in 1661, Mazarin died and Colbert made sure of the Kings favour by revealing the location of some of Mazarins hidden wealth. In short, Colbert acquired power in every department except that of war, a great financial and fiscal reform at once claimed all his energies
19.
Academy of France at Rome
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The French Academy in Rome is an Academy located in the Villa Medici, within the Villa Borghese, on the Pincio in Rome, Italy. The Academy was founded at the Palazzo Capranica in 1666 by Louis XIV under the direction of Jean-Baptiste Colbert, Charles Le Brun, such scholars were and are known as pensionnaires de lAcadémie. One recipient of the scholarship in the 17th century was Pierre Le Gros the Younger, the Academy was housed in the Palazzo Capranica until 1737, and then in the Palazzo Mancini from 1737 to 1793. These envois were annual works, sent to Paris to be judged, at first, the villa and its gardens were in a sad state and had to be renovated to house the winners of the Prix de Rome. The competition was interrupted during the first World War, and Mussolini confiscated the villa in 1941, the competition and Prix de Rome were eliminated in 1968 by André Malraux. The Académie des Beaux-Arts in Paris and the Institut de France then lost their guardianship of the Villa Medici to the Ministry of the Culture, from that time on, the boarders no longer belonged solely to the traditional disciplines but also to new or previously neglected artistic fields. These artists-in-residence are known as pensionnaires, the French word ‘pension’ refers to the room & board these, generally young and promising, artists receive. The artists are no longer recruited by a competition but by application, between 1961 and 1967, the artist Balthus, then at the head of the Academy, carried out a vast restoration campaign of the palace and its gardens, providing them with modern equipment. Balthus participated “hands on” in all the phases of the construction, where the historic décor had disappeared, Balthus proposed personal alternatives. Work continued under the direction of director, Richard Peduzzi, under director Frédéric Mitterrand the Academy opened up its guest rooms to the general public at times when they are not used by pensionnaires or other official guests. k. a. Carolus-Duran 1913-1921, Albert Besnard 1921-1933, Denys Puech 1933-1937, Paul-Maximilien Landowski 1937-1960, Jacques Ibert 1961-1977, Comte Balthazar Klossowski de Rola, a. k. a. Balthus 1979-1985, Jean Leymarie 1985-1994, Jean-Marie Drot 1994-1997, Pierre-Jean Angremy, a. k. a. villamedici. it/ Official site Google Map
20.
Hercules
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Hercules is the Roman adaptation of the Greek divine hero Heracles, who was the son of Zeus and the mortal Alcmene. In classical mythology, Hercules is famous for his strength and for his numerous far-ranging adventures, the Romans adapted the Greek heros iconography and myths for their literature and art under the name Hercules. In later Western art and literature and in culture, Hercules is more commonly used than Heracles as the name of the hero. Hercules was a figure with contradictory characteristics, which enabled later artists and writers to pick. This article provides an introduction to representations of Hercules in the later tradition, Hercules is known for his many adventures, which took him to the far reaches of the Greco-Roman world. One cycle of these adventures became canonical as the Twelve Labours, one traditional order of the labours is found in the Bibliotheca as follows, Slay the Nemean Lion. Capture the Golden Hind of Artemis, clean the Augean stables in a single day. Obtain the girdle of Hippolyta, Queen of the Amazons, obtain the cattle of the monster Geryon. Steal the apples of the Hesperides, Hercules was a favorite subject for Etruscan art, and appears often on bronze mirrors. The Etruscan form Herceler derives from the Greek Heracles via syncope, a mild oath invoking Hercules was a common interjection in Classical Latin. Hercules had a number of myths that were distinctly Roman, one of these is Hercules defeat of Cacus, who was terrorizing the countryside of Rome. The hero was associated with the Aventine Hill through his son Aventinus, Mark Antony considered him a personal patron god, as did the emperor Commodus. Roman brides wore a belt tied with the knot of Hercules. The comic playwright Plautus presents the myth of Hercules conception as a sex comedy in his play Amphitryon, during the Roman Imperial era, Hercules was worshipped locally from Hispania through Gaul. Tacitus records a special affinity of the Germanic peoples for Hercules, in chapter 3 of his Germania, Tacitus states. They say that Hercules, too, once visited them, and they have also those songs of theirs, by the recital of this barditus as they call it, they rouse their courage, while from the note they augur the result of the approaching conflict. For, as their line shouts, they inspire or feel alarm, some have taken this as Tacitus equating the Germanic Þunraz with Hercules by way of interpretatio romana. In the Roman era Hercules Club amulets appear from the 2nd to 3rd century, distributed over the empire, mostly made of gold, a specimen found in Köln-Nippes bears the inscription DEO HER, confirming the association with Hercules
21.
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
22.
Gobelins Manufactory
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The Manufacture des Gobelins is a tapestry factory located in Paris, France, at 42 avenue des Gobelins, near the Les Gobelins métro station in the 13th arrondissement. The factory is open for guided tours several afternoons per week by appointment as well as for casual visits every day except Mondays and some specific holidays. The Galerie des Gobelins is dedicated to exhibitions of tapestries from the French manufactures and furnitures from the Mobilier national. The Gobelins were a family of dyers who, in the middle of the 15th century, established themselves in the Faubourg Saint-Marcel, Paris, on the banks of the Bièvre. In 1629, their sons Charles de Comans and Raphaël de la Planche took over their fathers tapestry workshops and their partnership ended around 1650 and the workshops were split into two. Tapestries from this early, Flemish, period are sometimes called pre-gobelins, on account of Louis XIVs financial problems, the establishment was closed in 1694, but reopened in 1697 for the manufacture of tapestry, chiefly for royal use. It rivalled the Beauvais tapestry works until the French Revolution, when work at the factory was suspended, the factory was revived during the Bourbon Restoration and, in 1826, the manufacture of carpets was added to that of tapestry. In 1871 the building was burned down during the Paris Commune. The factory is still in operation today as a state-run institution, the Gobelins still produces some limited amount of tapestries for the decoration of French governmental institutions, with contemporary subjects. A branch of the manufactory was established in London probably in the early 18th-century in the area that is now Fulham High Street, around 1753 it appears to have been taken over by the priest and adventurer, Pierre Parisot, but closed only a few years later. Museums of Paris entry Paris. org entry This article incorporates text from a now in the public domain, Chisholm, Hugh
23.
Tapestry
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Tapestry is a form of textile art, traditionally woven on a vertical loom. Tapestry is weft-faced weaving, in all the warp threads are hidden in the completed work. In tapestry weaving, weft yarns are typically discontinuous, the artisan interlaces each coloured weft back and it is a plain weft-faced weave having weft threads of different colours worked over portions of the warp to form the design. Most weavers use a warp thread, such as linen or cotton. The weft threads are usually wool or cotton, but may include silk, gold, silver, the earliest attested form of the word is the Mycenaean Greek
24.
17th-century French art
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In the early part of the 17th century, late mannerist and early Baroque tendencies continued to flourish in the court of Marie de Medici and Louis XIII. Art from this period shows influences from both the north of Europe and from Roman painters of the Counter-Reformation, artists in France frequently debated the merits between Peter Paul Rubens and Nicolas Poussin. There was also a strong Caravaggio school represented in the period by the paintings of Georges de La Tour. The wretched and the poor were featured in an almost Dutch manner in the paintings by the three Le Nain brothers. In the paintings of Philippe de Champaigne there are both propagandistic portraits of Louis XIII s minister Cardinal Richelieu and other more contemplative portraits of people in the Jansenist sect. The Palace of Versailles, initially a hunting lodge built by his father, was transformed by Louis XIV into a marvelous palace for fêtes and parties. Architect Louis Le Vau, painter and designer Charles Le Brun, the initial impetus for this transformation of Versailles is generally linked to the private château Vaux-le-Vicomte built for Louis XIVs minister of Finance Nicolas Fouquet. Having offered a festival for the king in the newly finished residence in 1661. The architects and artists under his patronage were all put to work on Versailles, in his youth, Louis XIV had suffered during the civil and parliamentary insurrection known as the Fronde. Versailles became a gilded cage, To leave spelled disaster for a noble, for all official charges, a word or glance from the king could make or destroy a career. The king himself followed a strict daily program, and there was little privacy, yet the difficult wars at the end of his long reign and the religious problems created by the revocation of the Edict of Nantes made his last years dark ones. French artists of the seventeenth century Baroque painting Classicism Perrault’s Colonnade Anthony Blunt, Art, french Art Vol III, The Ancient Régime ISBN 2-08-013617-8
25.
Academicism
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Academic art, or Academicism, is a style of painting and sculpture produced under the influence of European academies of art. In this context it is often called academism, academicism, Lart pompier, and eclecticism, in this medicean institution students learned the arti del disegno and heard lectures on anatomy and geometry. Another academy, the Accademia di San Luca, was founded about a later in Rome. The Accademia di San Luca served a function and was more concerned with art theory than the Florentine one. Accademia di San Luca later served as the model for the Académie royale de peinture et de sculpture founded in France in 1648, and which later became the Académie des beaux-arts. The Académie royale de peinture et de sculpture was founded in an effort to distinguish artists who were practicing a liberal art from craftsmen. This emphasis on the component of artmaking had a considerable impact on the subjects. This battle of styles was a conflict over whether Peter Paul Rubens or Nicolas Poussin was a model to follow. Debates also occurred over whether it was better to learn art by looking at nature, academies using the French model formed throughout Europe, and imitated the teachings and styles of the French Académie. In England, this was the Royal Academy, one effect of the move to academies was to make training more difficult for women artists, who were excluded from most academies until the last half of the 19th century. This was partly because of concerns over the propriety of life classes with nude models, special arrangements were often made for female students until the 20th century. Since the onset of the debate, many artists worked between the two styles. In the 19th century, in the form of the debate, the attention. One artist after another was claimed by critics to have achieved the synthesis, among them Théodore Chassériau, Ary Scheffer, Francesco Hayez, Alexandre-Gabriel Decamps, and Thomas Couture. William-Adolphe Bouguereau, an academic artist, commented that the trick to being a good painter is seeing color. Another development during this period included adopting historical styles in order to show the era in history that the painting depicted, called historicism and this is best seen in the work of Baron Jan August Hendrik Leys, a later influence on James Tissot. Its also seen in the development of the Neo-Grec style, historicism is also meant to refer to the belief and practice associated with academic art that one should incorporate and conciliate the innovations of different traditions of art from the past. The art world also grew to give increasing focus on allegory in art, as artists attempted to synthesize these theories in practice, the attention on the artwork as an allegorical or figurative vehicle was emphasized
26.
Alexander the Great
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Alexander III of Macedon, commonly known as Alexander the Great, was a king of the Ancient Greek kingdom of Macedon and a member of the Argead dynasty. He was born in Pella in 356 BC and succeeded his father Philip II to the throne at the age of twenty and he was undefeated in battle and is widely considered one of historys most successful military commanders. During his youth, Alexander was tutored by Aristotle until the age of 16, after Philips assassination in 336 BC, he succeeded his father to the throne and inherited a strong kingdom and an experienced army. Alexander was awarded the generalship of Greece and used this authority to launch his fathers Panhellenic project to lead the Greeks in the conquest of Persia, in 334 BC, he invaded the Achaemenid Empire and began a series of campaigns that lasted ten years. Following the conquest of Anatolia, Alexander broke the power of Persia in a series of battles, most notably the battles of Issus. He subsequently overthrew Persian King Darius III and conquered the Achaemenid Empire in its entirety, at that point, his empire stretched from the Adriatic Sea to the Indus River. He sought to reach the ends of the world and the Great Outer Sea and invaded India in 326 BC and he eventually turned back at the demand of his homesick troops. Alexander died in Babylon in 323 BC, the city that he planned to establish as his capital, without executing a series of planned campaigns that would have begun with an invasion of Arabia. In the years following his death, a series of civil wars tore his empire apart, resulting in the establishment of several states ruled by the Diadochi, Alexanders surviving generals, Alexanders legacy includes the cultural diffusion which his conquests engendered, such as Greco-Buddhism. He founded some twenty cities that bore his name, most notably Alexandria in Egypt, Alexander became legendary as a classical hero in the mold of Achilles, and he features prominently in the history and mythic traditions of both Greek and non-Greek cultures. He became the measure against which military leaders compared themselves, and he is often ranked among the most influential people in human history. He was the son of the king of Macedon, Philip II, and his wife, Olympias. Although Philip had seven or eight wives, Olympias was his wife for some time. Several legends surround Alexanders birth and childhood, sometime after the wedding, Philip is said to have seen himself, in a dream, securing his wifes womb with a seal engraved with a lions image. Plutarch offered a variety of interpretations of dreams, that Olympias was pregnant before her marriage, indicated by the sealing of her womb. On the day Alexander was born, Philip was preparing a siege on the city of Potidea on the peninsula of Chalcidice. That same day, Philip received news that his general Parmenion had defeated the combined Illyrian and Paeonian armies, and it was also said that on this day, the Temple of Artemis in Ephesus, one of the Seven Wonders of the World, burnt down. This led Hegesias of Magnesia to say that it had burnt down because Artemis was away, such legends may have emerged when Alexander was king, and possibly at his own instigation, to show that he was superhuman and destined for greatness from conception
27.
Porus
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Porus or Poros, was a king of the Pauravas whose territory in Ancient Punjab spanned the region between the Hydaspes and Acesines rivers in what is now the Punjab. Porus fought against Alexander the Great in the Battle of the Hydaspes, thought to be fought at the site of modern-day Mong, after Alexanders death in 323 BC, Porus was assassinated by one of Alexanders generals named Eudemus sometime between 321 and 315 BC. Porus or Poros, was a king of the Pauravas whose territory spanned the region between the Hydaspes and Acesines rivers in what is now Punjab, Porus fought with Alexander the Great in the Battle of the Hydaspes. After Alexanders death in 323 BC, Porus was assassinated by one of Alexanders generals named Eudemus sometime between 321 and 315 BC, the only information available on Porus is from Greek sources. Historians however have reasoned that based on his name and the location of his domain, the historian, Ishwari Prasad, noted that Porus might have been a Yaduvanshi Shoorsaini. This Herakles of Megasthenes and Arrian has been identified by scholars as Krishna and by others as his elder brother Baladeva. The Battle of the Hydaspes was fought in 326 BC by Alexander the Great against King Porus of the Paurava kingdom on the banks of the river Hydaspes, the battle resulted in a Macedonian victory. After Alexanders death in 323 BC, Porus was assassinated by one of Alexanders generals, Eudemus, History of Porus, Patiala, Dr. Buddha Parkash. Alexander de Grote - De ondergang van het Perzische rijk, Amsterdam, ISBN 90-253-3144-0 Holt, Frank L. Alexander the Great and the Mystery of the Elephant Medallions, California, University of California Press,2003, 217pgs. ISBN 0-520-24483-4 History of India, Dr. Ishwari Prashad King Porus - A Legend of Old, glorifying poem, describes a legendary victory of Porus over Alexander. Media related to Porus at Wikimedia Commons Porus at Livius, by Jona Lendering Chisholm, Hugh, ed. King Porus
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Louvre Palace
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The Louvre Palace is a former royal palace located on the Right Bank of the Seine in Paris, between the Tuileries Gardens and the church of Saint-Germain lAuxerrois. Its present structure has evolved in stages since the 16th century, in 1793 part of the Louvre became a public museum, now the Musée du Louvre, which has expanded to occupy most of the building. The Palace is situated in the right-bank of the River Seine between Rue de Rivoli to the north and the Quai François Mitterrand to the south. To the west is the Jardin des Tuileries and, to the east, the Rue de lAmiral de Coligny, where its most architecturally famous façade, the Louvre Colonnade, the Cour Napoléon and Cour du Carrousel are separated by the street known as the Place du Carrousel. Some 51,615 sq m in the complex are devoted to public exhibition floor space. The Old Louvre occupies the site of the 12th-century fortress of King Philip Augustus and its foundations are viewable in the basement level as the Medieval Louvre department. This structure was razed in 1546 by King Francis I in favour of a royal residence which was added to by almost every subsequent French monarch. King Louis XIV, who resided at the Louvre until his departure for Versailles in 1678, completed the Cour Carrée, the Old Louvre is a quadrilateral approximately 160 m on a side consisting of 8 ailes which are articulated by 8 pavillons. With it, the last external vestiges of the medieval Louvre were demolished, the New Louvre is the name often given to the wings and pavilions extending the Palace for about 500 m westwards on the north and on the south sides of the Cour Napoléon and Cour du Carrousel. This consummation only lasted a few years, however, as the Tuileries was burned in 1871, the northern limb of the new Louvre consists of three great pavilions along the Rue de Rivoli, the Pavillon de la Bibliothèque, Pavillon de Rohan and Pavillon de Marsan. As on the side, three inside pavilions and their wings define three more subsidiary Courts, Cour du Sphinx, Cour Viconti and Cour Lefuel. The Chinese American architect I. M. Pei was selected in 1983 to design François Mitterrands Grand Louvre Project. The ground-level entrance to this complex was situated in the centre of the Cour Napoléon and is crowned by the prominent steel-and-glass pyramid, in a proposal by Kenneth Carbone, the nomenclature of the wings of the Louvre was simplified in 1987 to reflect the Grand Louvres organization. This allows the visitor to avoid becoming totally mystified at the bewildering array of named wings. The origin of the name Louvre is unclear, the French historian Henri Sauval, probably writing in the 1660s, stated that he had seen in an old Latin-Saxon glossary, Leouar is translated castle and thus took Leouar to be the origin of Louvre. According to Keith Briggs, Sauvals theory is often repeated, even in recent books, but this glossary has never seen again. Briggs suggests that H. J. Wolfs proposal in 1969 that Louvre derives instead from Latin Rubras, david Hanser, on the other hand, reports that the word may come from French louveterie, a place where dogs were trained to chase wolves. In 1190 King Philip II Augustus, who was about to leave on the Third Crusade, completed in 1202, the new fortress was situated in what is now the southwest quadrant of the Cour Carrée
29.
Flanders
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Flanders is the Dutch-speaking northern portion of Belgium, although there are several overlapping definitions, including ones related to culture, language, politics and history. It is one of the communities, regions and language areas of Belgium, the demonym associated with Flanders is Fleming, while the corresponding adjective is Flemish. The official capital of Flanders is Brussels, although Brussels itself has an independent regional government, in historical contexts, Flanders originally refers to the County of Flanders, which around AD1000 stretched from the Strait of Dover to the Scheldt estuary. In accordance with late 20th century Belgian state reforms the area was made two political entities, the Flemish Community and the Flemish Region. These entities were merged, although geographically the Flemish Community, which has a cultural mandate, covers Brussels. Flanders has figured prominently in European history, as a consequence, a very sophisticated culture developed, with impressive achievements in the arts and architecture, rivaling those of northern Italy. Belgium was one of the centres of the 19th century industrial revolution, geographically, Flanders is generally flat, and has a small section of coast on the North Sea. Much of Flanders is agriculturally fertile and densely populated, with a density of almost 500 people per square kilometer. It touches France to the west near the coast, and borders the Netherlands to the north and east, the Brussels Capital Region is an enclave within the Flemish Region. Flanders has exclaves of its own, Voeren in the east is between Wallonia and the Netherlands and Baarle-Hertog in the consists of 22 exclaves surrounded by the Netherlands. It comprises 6.5 million Belgians who consider Dutch to be their mother tongue, the political subdivisions of Belgium, the Flemish Region and the Flemish Community. The first does not comprise Brussels, whereas the latter does comprise the Dutch-speaking inhabitants of Brussels, the political institutions that govern both subdivisions, the operative body Flemish Government and the legislative organ Flemish Parliament. The two westernmost provinces of the Flemish Region, West Flanders and East Flanders, forming the central portion of the historic County of Flanders, a feudal territory that existed from the 8th century until its absorption by the French First Republic. Until the 1600s, this county also extended over parts of France, one of the regions conquered by the French in Flanders, namely French Flanders in the Nord department. French Flanders can be divided into two regions, Walloon Flanders and Maritime Flanders. The first region was predominantly French-speaking already in the 1600s, the latter became so in the 20th century, the city of Lille identifies itself as Flemish, and this is reflected, for instance, in the name of its local railway station TGV Lille Flandres. The region conquered by the Dutch Republic in Flanders, now part of the Dutch province of Zeeland, the significance of the County of Flanders and its counts eroded through time, but the designation remained in a very broad sense. In the Early modern period, the term Flanders was associated with the part of the Low Countries
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Lille
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Lille is a city in northern France, in French Flanders. On the Deûle River, near Frances border with Belgium, it is the capital of the Hauts-de-France region, archeological digs seem to show the area as inhabited by as early as 2000 BC, most notably in the modern-day quartiers of Fives, Wazemmes, and Vieux Lille. The legend of Lydéric and Phinaert puts the foundation of the city of Lille at 640, in the 8th century, the language of Old Low Franconian was spoken here, as attested by toponymic research. Lilles Dutch name is Rijsel, which comes from ter ijsel, the French equivalent has the same meaning, Lille comes from lîle. From 830 until around 910, the Vikings invaded Flanders, after the destruction caused by Norman and Magyar invasion, the eastern part of the region was ruled by various local princes. The first mention of the dates from 1066, apud Insulam. At the time, it was controlled by the County of Flanders, the County of Flanders thus extended to the left bank of the Scheldt, one of the richest and most prosperous regions of Europe. A notable local in this period was Évrard, who lived in the 9th century and participated in many of the days political, there was an important Battle of Lille in 1054. From the 12th century, the fame of the Lille cloth fair began to grow, in 1144 Saint-Sauveur parish was formed, which would give its name to the modern-day quartier Saint-Sauveur. Infante Ferdinand, Count of Flanders was imprisoned and the county fell into dispute, it would be his wife, Jeanne, Countess of Flanders and Constantinople and she was said to be well loved by the residents of Lille, who by that time numbered 10,000. He pushed the kingdoms of Flanders and Hainaut towards sedition against Jeanne in order to recover his land and she called her cousin, Louis VIII. He unmasked the imposter, whom Countess Jeanne quickly had hanged, in 1226 the King agreed to free Infante Ferdinand, Count of Flanders. Count Ferrand died in 1233, and his daughter Marie soon after, in 1235, Jeanne granted a city charter by which city governors would be chosen each All Saints Day by four commissioners chosen by the ruler. On 6 February 1236, she founded the Countesss Hospital, which one of the most beautiful buildings in Old Lille. It was in her honour that the hospital of the Regional Medical University of Lille was named Jeanne of Flanders Hospital in the 20th century, the Countess died in 1244 in the Abbey of Marquette, leaving no heirs. The rule of Flanders and Hainaut thus fell to her sister, Margaret II, Countess of Flanders, then to Margarets son, Lille fell under the rule of France from 1304 to 1369, after the Franco-Flemish War. The county of Flanders fell to the Duchy of Burgundy next, after the 1369 marriage of Margaret III, Countess of Flanders, Lille thus became one of the three capitals of said Duchy, along with Brussels and Dijon. By 1445, Lille counted some 25,000 residents, Philip the Good, Duke of Burgundy, was even more powerful than the King of France, and made Lille an administrative and financial capital
31.
Altarpiece
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An altarpiece is an artwork such as a painting, sculpture or relief representing a religious subject made for placing behind the altar of a Christian church. Altarpieces were one of the most important products of Christian art especially from the late Middle Ages to the era of the Counter-Reformation. Large number of altarpieces are now removed from their settings, and often their elaborate sculpted frameworks. Altarpieces seem to have begun to be used during the 11th century, the reasons and forces that led to the development of altarpieces are not generally agreed upon. The habit of placing decorated reliquaries of saints on or behind the altar, as well as the tradition of decorating the front of the altar with sculptures or textiles, an elaborate example of such an early altarpiece is the Pala dOro in Venice. The appearance and development of these first altarpieces marked an important turning point both in the history of Christian art and Christian religious practice, the autonomous image now assumed a legitimate position at the centre of Christian worship. Painted panel altars emerged in Italy during the 13th century, in the 13th century, it is not uncommon to find frescoed or mural altarpieces in Italy, mural paintings behind the altar function as visual complements for the liturgy. These altarpieces were influenced by Byzantine art, notably icons, which reached Western Europe in greater numbers following the conquest of Constantinople in 1204. During this time, altarpieces began to be decorated with an outer. Vigoroso da Sienas altarpiece from 1291 display such an altarpiece and this treatment of the altarpiece would eventually pave the way for the emergence, in the 14th century, of the polyptych. The sculpted elements in the emerging polyptychs often took inspiration from contemporary Gothic architecture, in Italy, they were still typically executed in wood and painted, while in northern Europe altarpieces were often made of stone. The early 14th century saw the emergence, in Germany, the Netherlands, Scandinavia, the Baltic region, by hinging the outer panels to the central panel and painting them on both sides, the motif could be regulated by opening or closing the wings. The pictures could thus be changed depending on liturgical demands, the earliest often displayed sculptures on the inner panels, i. e. displayed when open, and paintings on the back of the wings, displayed when closed. With the advent of winged altarpieces, a shift in imagery also occurred, instead of being centred on a single holy figure, altarpieces began to portray more complex narratives linked to the Christian concept of salvation. As the Middle Ages progressed, altarpieces began to be commissioned more frequently, in Northern Europe, initially Lübeck and later Antwerp would develop into veritable export centres for the production of altarpieces, exporting to Scandinavia, Spain and northern France. By the 15th century, altarpieces were often commissioned not only by churches but also by individuals, families, guilds, the 15th century saw the birth of Early Netherlandish painting in the Low Countries, henceforth panel painting would dominate altarpiece production in the area. In Germany, sculpted wooden altarpieces were instead generally preferred, while in England alabaster was used to a large extent, in England, as well as in France, stone retables enjoyed general popularity. In Italy both stone retables and wooden polyptychs were common, with painted panels and often with complex framing in the form of architectural compositions
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Military art
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The genre of military art is characterized by its subject matter rather than by any specific style or material used. The battle scene is one of the oldest types of art in developed civilizations, as rulers have always been keen to celebrate their victories, the depiction of other aspects of warfare, especially the suffering of casualties and civilians, has taken much longer to develop. The term war art is used, mostly in relation to 20th century military art made during wartime. Art depicting military themes has existed throughout history, the Battlefield Palette, a cosmetic palette from the Protodynastic Period of Egypt is incomplete, but shows prisoners being led away, and wild animals feasting on the dead. The Stele of the Vultures, about 2,500 BC, is one of a number of Mesopotamian victory stelae. Also around 2,500 BC, the earliest known depiction of a city being besieged is found in the tomb of Inti, an official from the 21st nome of Upper Egypt, the scene shows Egyptian soldiers scaling the walls of a near eastern fortress on ladders. Although the Battle of Kadesh in 1274 BC appears to have been inconclusive, surviving Assyrian art mainly consists of large stone reliefs showing detailed scenes of either military campaigns or hunting. The ancient Greek Parthenon Marbles show lengthy parades of the volunteer cavalry force. In Han dynasty China, a stone relief of c. 150-170 AD from the Wu family shrines shows a battle between forces in the Campaign against Dong Zhuo. The Alexander Mosaic is a large and dramatic battle scene showing Alexander the Great defeating Darius III of Persia, it is a floor mosaic excavated from Pompeii, such scenes had a great influence on Renaissance battle scenes. By the Late Roman Empire the reverse of coins often showed soldiers and carried an inscription praising our boys. Soldier saints, shown in military dress, were extremely popular, some illuminated manuscripts illustrated the many battles in the Old Testament. The Siege of the Castle of Love, often found on Gothic ivory mirror-cases, showed knights attacking a castle defended by ladies, all of these depicted frankly minor actions where Florence had defeated neighbouring cities, but important battles from distant history were equally popular. The Battle of the Milvian Bridge by Giulio Romano brought a huge and it was the most detailed and panoramic battle picture of its day, and its aerial viewpoint was to be very widely followed over the next centuries, though rarely to such dramatic effect. Vroom had also worked for English patrons, designing a set of tapestries of the defeat of the Spanish Armada which was destroyed when the Houses of Parliament burnt down in 1834. The paintings of Salvator Rosa, essentially landscapes, often showed groups variously described as bandits or soldiers lurking in the countryside of Southern Italy. The Surrender of Breda by Velázquez shows a scene as the two sides meet peacefully to surrender the town, a theme more often copied in naval painting than land-based military art
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Portraitist
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A portrait is a painting, photograph, sculpture, or other artistic representation of a person, in which the face and its expression is predominant. The intent is to display the likeness, personality, and even the mood of the person, for this reason, in photography a portrait is generally not a snapshot, but a composed image of a person in a still position. A portrait often shows a person looking directly at the painter or photographer, nonetheless, many subjects, such as Akhenaten and some other Egyptian pharaohs, can be recognised by their distinctive features. The 28 surviving rather small statues of Gudea, ruler of Lagash in Sumeria between c.2144 -2124 BC, show a consistent appearance with some individuality. Some of the earliest surviving painted portraits of people who were not rulers are the Greco-Roman funeral portraits that survived in the dry climate of Egypts Fayum district. These are almost the only paintings from the world that have survived, apart from frescos, though many sculptures. Although the appearance of the figures differs considerably, they are considerably idealized, the art of the portrait flourished in Ancient Greek and especially Roman sculpture, where sitters demanded individualized and realistic portraits, even unflattering ones. During the 4th century, the portrait began to retreat in favor of a symbol of what that person looked like. In the Europe of the Early Middle Ages representations of individuals are mostly generalized, true portraits of the outward appearance of individuals re-emerged in the late Middle Ages, in tomb monuments, donor portraits, miniatures in illuminated manuscripts and then panel paintings. Moche culture of Peru was one of the few ancient civilizations which produced portraits and these works accurately represent anatomical features in great detail. The individuals portrayed would have been recognizable without the need for other symbols or a reference to their names. The individuals portrayed were members of the elite, priests, warriors. They were represented during several stages of their lives, the faces of gods were also depicted. To date, no portraits of women have been found, there is particular emphasis on the representation of the details of headdresses, hairstyles, body adornment and face painting. One of the portraits in the Western world is Leonardo da Vincis painting titled Mona Lisa. What has been claimed as the worlds oldest known portrait was found in 2006 in the Vilhonneur grotto near Angoulême and is thought to be 27,000 years old. Profile view, full view, and three-quarter view, are three common designations for portraits, each referring to a particular orientation of the head of the individual depicted. Such terms would tend to have greater applicability to two-dimensional artwork such as photography, in the case of three-dimensional artwork, the viewer can usually alter their orientation to the artwork by moving around it
34.
Louvre
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The Louvre or the Louvre Museum is the worlds largest museum and a historic monument in Paris, France. A central landmark of the city, it is located on the Right Bank of the Seine in the citys 1st arrondissement, approximately 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square metres. The Louvre is the second most visited museum after the Palace Museum in China. The museum is housed in the Louvre Palace, originally built as a fortress in the late 12th century under Philip II, remnants of the fortress are visible in the basement of the museum. Due to the expansion of the city, the fortress eventually lost its defensive function and. The building was extended many times to form the present Louvre Palace, in 1692, the building was occupied by the Académie des Inscriptions et Belles Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years, during the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nations masterpieces. The museum opened on 10 August 1793 with an exhibition of 537 paintings, because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under Napoleon and the museum renamed Musée Napoléon, the collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic, whether this was the first building on that spot is not known, it is possible that Philip modified an existing tower. According to the authoritative Grand Larousse encyclopédique, the name derives from an association with wolf hunting den, in the 7th century, St. Fare, an abbess in Meaux, left part of her Villa called Luvra situated in the region of Paris to a monastery. This territory probably did not correspond exactly to the modern site, the Louvre Palace was altered frequently throughout the Middle Ages. In the 14th century, Charles V converted the building into a residence and in 1546, Francis acquired what would become the nucleus of the Louvres holdings, his acquisitions including Leonardo da Vincis Mona Lisa. After Louis XIV chose Versailles as his residence in 1682, constructions slowed, however, on 14 October 1750, Louis XV agreed and sanctioned a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. Under Louis XVI, the museum idea became policy. The comte dAngiviller broadened the collection and in 1776 proposed conversion of the Grande Galerie of the Louvre – which contained maps – into the French Museum, many proposals were offered for the Louvres renovation into a museum, however, none was agreed on. Hence the museum remained incomplete until the French Revolution, during the French Revolution the Louvre was transformed into a public museum. In May 1791, the Assembly declared that the Louvre would be a place for bringing together monuments of all the sciences, on 10 August 1792, Louis XVI was imprisoned and the royal collection in the Louvre became national property
35.
Prince's Palace of Monaco
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The Princes Palace of Monaco is the official residence of the Sovereign Prince of Monaco. Built in 1191 as a Genoese fortress, during its long, since the end of the 13th century, it has been the stronghold and home of the Grimaldi family who first captured it in 1297. The Grimaldi ruled the area first as feudal lords, and from the 17th century as sovereign princes, thus while other European sovereigns were building luxurious, modern Renaissance and Baroque palaces, politics and common sense demanded that the palace of the Monegasque rulers be fortified. This unique requirement, at such a stage in history, has made the palace at Monaco one of the most unusual in Europe. Thus, their fortunes and politics are directly reflected in the evolution of the palace, thus, the Princes Palace reflects the history not only of Monaco, but of the family which in 1997 celebrated 700 years of rule from the same palace. During the 19th and early 20th centuries, the palace and its owners became symbols of the slightly risqué glamour and decadence that were associated with Monte Carlo, glamour and theatricality became reality when the American film star Grace Kelly became chatelaine of the palace in 1956. In the 21st century, the remains the residence of the current Prince of Monaco. The palace is a blend of styles, its ancient origins are indicated by a lack of symmetry. Thus to evaluate the architecture, wings and blocks have to be observed separately, the principal façade appears as a terrace of Renaissance style palazzi from differing periods of the Renaissance era which—even though they form only one palace—is exactly what they are. These wings are united by their common rusticated ground floor. This Renaissance architecture seems to mask earlier fortifications, the towers of which rise behind the differing classical façades and these towers—many complete with crenellations and machicolations—were actually mostly rebuilt during the 19th century. At the rear of the palace the original medieval fortifications seem untouched by time, the most notable of the many rooms are the state apartments. These were laid out from the 16th century onwards, and were enhanced in the style of those at Versailles during the 18th century, in the 19th century and again during the late 20th century, large-scale restoration of the state rooms consolidated the 18th-century style which prevails today. From here guests enter the Mirror Gallery, a long hall inspired by the Hall of Mirrors at Versailles. This gallery leads to the first of the rooms, the Officers Room. From the Officers Hall the enfilade continues to the Blue Room and this large drawing room, decorated with blue brocade, is hung with Grimaldi family portraits and has chandeliers of Murano glass. The following room, the largest of the apartments, is the Throne Room. Its ceiling and frescoes were executed by Orazio de Ferrari and depict the surrender of Alexander the Great, the throne, in the Empire style, is positioned on a dais, beneath a red silk canopy of estate surmounted by a gilt crown
36.
Ludovico Dorigny
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Ludovico Dorigny was a French painter and engraver. Trained in his country, he spent most of his life and career in Verona. Born Louis Dorigny into a family of Parisian artists, Dorigny was the grandson of painter Simon Vouet, as a boy he apprenticed with the painter Charles Le Brun and in his teens was commissioned to create works for Cardinal Richelieu and Louis XIV of France. He adopted the version of his name, Ludovico, during his early years in Italy. In 1671, at the age of 17, Dorigny came to Italy to study the Italian masters and he traveled back and forth between France and Italy over the next seven years, ultimately settling in Venice in 1678. He spent the decade in that city where his works were in high demand by the nobility. In that city he also contributed works to the Chiesa degli Scalzi, painted the ceiling of the San Silvestro, in 1688 Dorigny moved to Verona, where he remained until his death 54 years later. He visited his family in Paris in 1704 and in 1711 traveled to Vienna and he also contributed works to the Udine Cathedral and the Trento Cathedral. He died at Venice in 1742
37.
Metropolitan Museum of Art
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The Metropolitan Museum of Art, colloquially the Met, is located in New York City and is the largest art museum in the United States, and is among the most visited art museums in the world. Its permanent collection contains two million works, divided among seventeen curatorial departments. The main building, on the edge of Central Park along Manhattans Museum Mile, is by area one of the worlds largest art galleries. A much smaller second location, The Cloisters at Fort Tryon Park in Upper Manhattan, contains a collection of art, architecture. On March 18,2016, the museum opened the Met Breuer museum at Madison Avenue in the Upper East Side, it extends the museums modern, the Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, Indian, and Islamic art. The museum is home to collections of musical instruments, costumes and accessories, as well as antique weapons. Several notable interiors, ranging from first-century Rome through modern American design, are installed in its galleries, the Metropolitan Museum of Art was founded in 1870. The founders included businessmen and financiers, as well as leading artists and thinkers of the day and it opened on February 20,1872, and was originally located at 681 Fifth Avenue. The Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, the museum is also home to encyclopedic collections of musical instruments, costumes and accessories, and antique weapons and armor from around the world. A number of interiors, ranging from 1st century Rome through modern American design, are permanently installed in the Mets galleries. In addition to its permanent exhibitions, the Met organizes and hosts traveling shows throughout the year. The director of the museum is Thomas P. Campbell, a long-time curator and it was announced on February 28th,2017 that Campbell will be stepping down as the Mets director and CEO, effective June. On March 1st,2017 the BBC reported that Daniel Weiss shall be the acting CEO until a replacement is found, Beginning in the late 19th century, the Met started to acquire ancient art and artifacts from the Near East. From a few tablets and seals, the Mets collection of Near Eastern art has grown to more than 7,000 pieces. The highlights of the include a set of monumental stone lamassu, or guardian figures. The Mets Department of Arms and Armor is one of the museums most popular collections. Among the collections 14,000 objects are many pieces made for and used by kings and princes, including armor belonging to Henry VIII of England, Henry II of France, Rockefeller donated his more than 3, 000-piece collection to the museum. The Mets Asian department holds a collection of Asian art, of more than 35,000 pieces, the collection dates back almost to the founding of the museum, many of the philanthropists who made the earliest gifts to the museum included Asian art in their collections
38.
Polyxena
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In Greek mythology, Polyxena was the youngest daughter of King Priam of Troy and his queen, Hecuba. Polyxena is considered the Trojan version of Iphigenia, daughter of Agamemnon and she is not in Homers Iliad, appearing in works by later poets, perhaps to add romance to Homers austere tale. An oracle prophesied that Troy would not be defeated if Polyxenas brother, Prince Troilus, Achilles, still recovering from Patroclus death, found Polyxenas words a comfort and was later told to go to the temple of Apollo to meet her after her devotions. Achilles seemed to trust Polyxena—he told her of his only vulnerability, some claimed Polyxena committed suicide after Achilles death out of guilt. According to Euripides, however, in his plays The Trojan Women and Hecuba, Achilles ghost had come back to the Greeks to demand the human sacrifice of Polyxena so as to appease the wind needed to set sail back to Hellas. She was to be killed at the foot of Achilles grave, Hecuba, Polyxenas mother, expressed despair at the death of another of her daughters. However, Polyxena was eager to die as a sacrifice to Achilles rather than die as a slave and she reassured her mother, and refused to beg before Odysseus or be treated in any way other than a princess. She asked that Odysseus reassure her mother as she is led away, a few examples in Greek imagery can be securely identified as depicting the sacrifice of Polyxena. Most show Polyxena sacrificed over the tomb of Achilles, however, some details in the pictorial evidence of the sacrifice hint at varying and perhaps earlier versions of the myth. For instance, some appear to show Polyxena sacrificed over an altar, rather than a tomb. These details have been interpreted as indicating an association between the mound of Achilles and sacred ground dedicated to Apollo. List of King Priams children Servius, article on Polyxena from Stanford University The Sacrifice of Polyxena — A painting by Giovanni Battista Pittoni Human Sacrifice, Cross-cultural perspectives and representations, eds. P Bonnechere & R. Gagne, Presses Universitaires de Lieges,2013 - see pp. 61-86 J. Mylonopoulos Gory Details, the Iconography of Human Sacrifice in Greek Art
39.
Coco Chanel
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Gabrielle Bonheur Coco Chanel was a French fashion designer and businesswoman. She was the founder and namesake of the Chanel brand, a prolific fashion creator, Chanel extended her influence beyond couture clothing, realising her design aesthetic in jewellery, handbags, and fragrance. 5, has become an iconic product and she is the only fashion designer listed on TIME magazines list of the 100 most influential people of the 20th century. Chanel designed her iconic interlocked-CC monograph, meaning Coco Chanel, using it since the 1920s, Chanel was known for her lifelong determination, ambition, and energy which she applied to her professional and social life. She achieved both financial success as a businesswoman and catapulted to prominence in French high society, thanks to the connections she made through her work. These included many artists and craftspeople to whom she became a patron and her social connections appeared to encourage a highly conservative personal outlook. One of Chanels lovers was a German military officer, Hans Gunther von Dincklage, after the war ended, Chanel was interrogated about her relationship with von Dincklage, but she was not charged as a collaborator. After several years in Switzerland after the war, she returned to Paris, in 2011, Hal Vaughan published a book on Chanel based on newly declassified documents of that era, revealing that she had collaborated with Germans in intelligence activities. One plan in late 1943 was for her to carry an SS separate peace overture to British Prime Minister Winston Churchill to end the war and she was Jeannes second child with Albert Chanel, the first, Julia, was born less than a year earlier. Albert Chanel was an itinerant street vendor who peddled work clothes and undergarments, living a life, traveling to. The family resided in rundown lodgings, in 1884, he married Jeanne Devolle, persuaded to do so by her family who had united, effectively, to pay Albert to marry her. At birth, Chanels name was entered into the registry as Chasnel. Jeanne was too unwell to attend the registration, and Albert was registered as travelling, with both parents absent, the infants last name was misspelled, probably due to a clerical error. The couple had five children who survived—two boys and three girls—who lived crowded into a lodging in the town of Brive-la-Gaillarde. When Gabrielle was 12, her mother died of bronchitis at the age of 32 and her father sent his two sons out to work as farm laborers and sent his three daughters to the Corrèze, in central France, to the convent of Aubazine, which ran an orphanage. Its religious order, the Congregation of the Sacred Heart of Mary, was founded to care for the poor and rejected and it was a stark, frugal life, demanding strict discipline. Despite the tragedy of this, being placed in the orphanage may have been the best thing for Coco’s future because it is where she learned to sew. At age eighteen, Chanel, too old to remain at Aubazine, later in her life, Chanel would retell the story of her childhood somewhat differently, she would often include more glamorous accounts, which were generally untrue
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Savonnerie manufactory
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The Savonnerie manufactory was the most prestigious European manufactory of knotted-pile carpets, enjoying its greatest period c. 1650–1685, the cachet of its name is applied to many knotted-pile carpets made at other centers. Under a patent of eighteen years, a monopoly was granted by Louis XIII in 1627 to DuPont and his former apprentice Simon Lourdet, makers of carpets façon de Turquie. Until 1768, the products of the manufactory remained exclusively the property of the Crown, the carpets were made of wool with some silk in the small details, knotted using the Ghiordes knot, at about ninety knots to the square inch. The pre-history of the Savonnerie manufacture lies in the concerns of Henri IV to revive the French luxury arts, French silver was being drained to the Levant and Persia for the purchase of knotted-pile carpets. Among the craftsmen the king provided with studios and workshops in the galleries of the Louvre itself, was Pierre Dupont, duponts La Stromatourgie, ou Traité de la Fabrication des tapis de Turquie is a prime source for information on French carpet manufacturing in the early seventeenth century. Dupont and Lourdet fell into a quarrel that lasted into the next generation, nevertheless, a fortune was spent on the carpets, which were paid for at the rate of 165 livres per aune, which measured 118.8 square centimeter/46 and a half square inches. The designs were from the kings painter Charles Le Brun, realized as full-scale cartoons by two painters from the Gobelins, Le Brun was carrying out ceiling paintings in the same galleries. Weaving began in 1668 and the first carpets for the Grande Galerie were delivered towards the end of that year, some thirty-five complete carpets remain in the French Mobilier National today. The children were taught the art of design as well, a painter from the Académie coming once a month to inspect their projects, during the 18th century attempts were made to update the manufactorys often retardataire designs, lightening and brightening the colors and introducing Rococo elements. In the later eighteenth century, Savonnerie produced panels for screens and firescreens, the Revolution saw the factorys nadir, royal crowns, cyphers and fleurs-de-lys were cut from carpets that remained in storage as insignia of féodalité. The revival of the Savonnerie is due to the patronage of Napoleon, new cartoons were designed by Percier and Fontaine and the old stock of drawings made their way into the collections of the new Louvre Museum. In 1825, the Savonnerie was incorporated with the Gobelins Manufactory, franco-Ottoman alliance Oriental carpets in Renaissance painting
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Herbermann, Charles, ed. (1913). "Charles Lebrun". Catholic Encyclopedia. New York: Robert Appleton Company.
Herbermann, Charles, ed. (1913). "
