1.
Cleveland
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Cleveland is a city in the U. S. state of Ohio and the county seat of Cuyahoga County, the states second most populous county. The city proper has a population of 388,072, making Cleveland the 51st largest city in the United States, Greater Cleveland ranked as the 32nd largest metropolitan area in the United States, with 2,055,612 people in 2016. The city is the center of the Cleveland–Akron–Canton Combined Statistical Area, the city is located on the southern shore of Lake Erie, approximately 60 miles west of the Pennsylvania border. Clevelands economy has diversified sectors that include manufacturing, financial services, healthcare, Cleveland is also home to the Rock and Roll Hall of Fame. Residents of Cleveland are called Clevelanders, Cleveland has many nicknames, the oldest of which in contemporary use being The Forest City. Cleaveland oversaw the plan for what would become the downtown area, centered on Public Square, before returning home. The first settler in Cleaveland was Lorenzo Carter, who built a cabin on the banks of the Cuyahoga River, the Village of Cleaveland was incorporated on December 23,1814. In spite of the swampy lowlands and harsh winters, its waterfront location proved to be an advantage. The area began rapid growth after the 1832 completion of the Ohio, growth continued with added railroad links. Cleveland incorporated as a city in 1836, in 1836, the city, then located only on the eastern banks of the Cuyahoga River, nearly erupted into open warfare with neighboring Ohio City over a bridge connecting the two. Ohio City remained an independent municipality until its annexation by Cleveland in 1854, the citys prime geographic location as a transportation hub on the Great Lakes has played an important role in its development as a commercial center. Cleveland serves as a point for iron ore shipped from Minnesota. In 1870, John D. Rockefeller founded Standard Oil in Cleveland, other manufacturers located in Cleveland produced steam-powered cars, which included White and Gaeth, as well as the electric car company Baker. Because of the significant growth, Cleveland was known as the Sixth City during this period, by 1920, due in large part to the citys economic prosperity, Cleveland became the nations fifth largest city. The city counted Progressive Era politicians such as the populist Mayor Tom L. Johnson among its leaders, many prominent Clevelanders from this era are buried in the historic Lake View Cemetery, including President James A. Garfield, and John D. Rockefeller. In commemoration of the centennial of Clevelands incorporation as a city, conceived as a way to energize a city after the Great Depression, it drew four million visitors in its first season, and seven million by the end of its second and final season in September 1937. The exposition was housed on grounds that are now used by the Great Lakes Science Center, following World War II, the city experienced a prosperous economy. In sports, the Indians won the 1948 World Series, the hockey Barons became champions of the American Hockey League, as a result, along with track and boxing champions produced, Cleveland was dubbed City of Champions in sports at this time
2.
Ohio
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Ohio /oʊˈhaɪ. oʊ/ is a Midwestern state in the Great Lakes region of the United States. Ohio is the 34th largest by area, the 7th most populous, the states capital and largest city is Columbus. The state takes its name from the Ohio River, the name originated from the Iroquois word ohi-yo’, meaning great river or large creek. Partitioned from the Northwest Territory, the state was admitted to the Union as the 17th state on March 1,1803, Ohio is historically known as the Buckeye State after its Ohio buckeye trees, and Ohioans are also known as Buckeyes. Ohio occupies 16 seats in the United States House of Representatives, Ohio is known for its status as both a swing state and a bellwether in national elections. Six Presidents of the United States have been elected who had Ohio as their home state, Ohios geographic location has proven to be an asset for economic growth and expansion. Because Ohio links the Northeast to the Midwest, much cargo, Ohio has the nations 10th largest highway network, and is within a one-day drive of 50% of North Americas population and 70% of North Americas manufacturing capacity. To the north, Lake Erie gives Ohio 312 miles of coastline, Ohios southern border is defined by the Ohio River, and much of the northern border is defined by Lake Erie. Ohios neighbors are Pennsylvania to the east, Michigan to the northwest, Ontario Canada, to the north, Indiana to the west, Kentucky on the south, Ohio is bounded by the Ohio River, but nearly all of the river itself belongs to Kentucky and West Virginia. Ohio has only that portion of the river between the rivers 1792 low-water mark and the present high-water mark, the border with Michigan has also changed, as a result of the Toledo War, to angle slightly northeast to the north shore of the mouth of the Maumee River. Much of Ohio features glaciated plains, with a flat area in the northwest being known as the Great Black Swamp. Most of Ohio is of low relief, but the unglaciated Allegheny Plateau features rugged hills, in 1965 the United States Congress passed the Appalachian Regional Development Act, at attempt to address the persistent poverty and growing economic despair of the Appalachian Region. This act defines 29 Ohio counties as part of Appalachia, the worst weather disaster in Ohio history occurred along the Great Miami River in 1913. Known as the Great Dayton Flood, the entire Miami River watershed flooded, as a result, the Miami Conservancy District was created as the first major flood plain engineering project in Ohio and the United States. Grand Lake St. Marys in the west central part of the state was constructed as a supply of water for canals in the era of 1820–1850. For many years this body of water, over 20 square miles, was the largest artificial lake in the world and it should be noted that Ohios canal-building projects were not the economic fiasco that similar efforts were in other states. Some cities, such as Dayton, owe their emergence to location on canals. Summers are typically hot and humid throughout the state, while winters generally range from cool to cold, precipitation in Ohio is moderate year-round
3.
Geographic coordinate system
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A geographic coordinate system is a coordinate system used in geography that enables every location on Earth to be specified by a set of numbers, letters or symbols. The coordinates are chosen such that one of the numbers represents a vertical position. A common choice of coordinates is latitude, longitude and elevation, to specify a location on a two-dimensional map requires a map projection. The invention of a coordinate system is generally credited to Eratosthenes of Cyrene. Ptolemy credited him with the adoption of longitude and latitude. Ptolemys 2nd-century Geography used the prime meridian but measured latitude from the equator instead. Mathematical cartography resumed in Europe following Maximus Planudes recovery of Ptolemys text a little before 1300, in 1884, the United States hosted the International Meridian Conference, attended by representatives from twenty-five nations. Twenty-two of them agreed to adopt the longitude of the Royal Observatory in Greenwich, the Dominican Republic voted against the motion, while France and Brazil abstained. France adopted Greenwich Mean Time in place of local determinations by the Paris Observatory in 1911, the latitude of a point on Earths surface is the angle between the equatorial plane and the straight line that passes through that point and through the center of the Earth. Lines joining points of the same latitude trace circles on the surface of Earth called parallels, as they are parallel to the equator, the north pole is 90° N, the south pole is 90° S. The 0° parallel of latitude is designated the equator, the plane of all geographic coordinate systems. The equator divides the globe into Northern and Southern Hemispheres, the longitude of a point on Earths surface is the angle east or west of a reference meridian to another meridian that passes through that point. All meridians are halves of great ellipses, which converge at the north and south poles, the prime meridian determines the proper Eastern and Western Hemispheres, although maps often divide these hemispheres further west in order to keep the Old World on a single side. The antipodal meridian of Greenwich is both 180°W and 180°E, the combination of these two components specifies the position of any location on the surface of Earth, without consideration of altitude or depth. The grid formed by lines of latitude and longitude is known as a graticule, the origin/zero point of this system is located in the Gulf of Guinea about 625 km south of Tema, Ghana. To completely specify a location of a feature on, in, or above Earth. Earth is not a sphere, but a shape approximating a biaxial ellipsoid. It is nearly spherical, but has an equatorial bulge making the radius at the equator about 0. 3% larger than the radius measured through the poles, the shorter axis approximately coincides with the axis of rotation
4.
Art museum
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An art museum or art gallery is a building or space for the exhibition of art, usually visual art. Museums can be public or private, but what distinguishes a museum is the ownership of a collection, the term is used for both public galleries, which are non-profit or publicly owned museums that display selected collections of art. On the other hand, private galleries refers to the commercial enterprises for the sale of art, however, both types of gallery may host traveling exhibits or temporary exhibitions including art borrowed from elsewhere. In broad terms, in North American usage, the word gallery alone often implies a private gallery, the term contemporary art gallery refers usually to a privately owned for-profit commercial gallery. These galleries are found clustered together in large urban centers. Smaller cities are home to at least one gallery, but they may also be found in towns or villages. Contemporary art galleries are open to the general public without charge, however. They usually profit by taking a portion of art sales, from 25% to 50% is typical, there are also many non-profit or collective galleries. Some galleries in cities like Tokyo charge the artists a flat rate per day, curators often create group shows that say something about a certain theme, trend in art, or group of associated artists. Galleries sometimes choose to represent artists exclusively, giving them the opportunity to show regularly, a gallerys definition can also include the artist cooperative or artist-run space, which often operates as a space with a more democratic mission and selection process. A vanity gallery is an art gallery that charges fees from artists in order to show their work, the shows are not legitimately curated and will frequently or usually include as many artists as possible. Most art professionals are able to identify them on an artists resume, University art museums and galleries constitute collections of art that are developed, owned, and maintained by all kinds of schools, community colleges, colleges, and universities. This phenomenon exists in both the West and East, making it a global practice, although largely overlooked, there are over 700 university art museums in America alone. This number, in comparison to other kinds of art museums, throughout history, large and expensive works of art have generally been commissioned by religious institutions and monarchs and been displayed in temples, churches, and palaces. Although these collections of art were private, they were made available for viewing for a portion of the public. In classical times, religious institutions began to function as a form of art gallery. Wealthy Roman collectors of engraved gems and other precious objects often donated their collections to temples and it is unclear how easy it was in practice for the public to view these items. At the Palace of Versailles, entrance was restricted to wearing the proper apparel – the appropriate accessories could be hired from shops outside
5.
University Circle
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University Circle is a neighborhood on the east side of Cleveland, Ohio. The area is known as The Circle to locals. University Circle is member of the Global Cultural Districts Network, while the population of University Circle ranks on the lower end of Clevelands 36 defined Statistical Planning Areas, it ranks near the top in importance to the citys economic sector. Neighborhood businesses and institutions provide the city more than 30,000 jobs in a variety of fields. Nearby attractions draw approximately 2.5 million visitors annually, University Circle has its own full-service police department to provide security and patrol the area. In a 2007 USA Today article entitled 10 great places to discover Italy in America, Mario Batali was quoted as saying, the article listed Clevelands Little Italy as a top ten Little Italy in America. Askmen. com ranked Clevelands Little Italy #3 out of 10 in their list of Top 10, the name University Circle began to take shape in the 1880s. Western Reserve University moved its campus from Hudson, Ohio, to Euclid Avenue in 1883, Case School of Applied Science moved from Downtown Cleveland to a site next to WRU in 1885. By the 1890s, the Western Reserve School of Design for Women moved to University Circle, the concept became more concrete when Jeptha Wade, a trustee of Western Reserve University, set aside land for the Cleveland Museum of Art to be built in the Circle. The Historical Society joined these institutions before the start of the 20th century, the Circle began to grow rapidly in the early 20th century. The Cleveland Museum of Art opened its doors in 1916, Clevelands college football scene began in University Circle through both Case and Western Reserve football teams. Van Horn Field hosted games against Ohio State, Notre Dame, famed Notre Dame coach Knute Rockne made his coaching debut against Case in University Circle in 1918. In 1920, The Alabama Crimson Tide played their first ever game in the north at Van Horn Field against Case, the arrival of University Hospitals in 1931 led to health care becoming another center of innovation in University Circle. Less than one mile away from University Hospitals, the Cleveland Clinic had been serving its patients since 1921, also in 1931 Severance Hall, home of the Cleveland Orchestra, was constructed at the corner of Euclid and East Boulevard. By 1950,34 institutions had chosen University Circle as their home, in 1967, Case School of Applied Science and Western Reserve University confederated to become Case Western Reserve University. University Circle remains Clevelands center for cultural, educational, religious, the area is currently undergoing many construction projects with many institutions expanding, and private development of residential and commercial dwellings. New housing developments in the area have increased the number of residents in the area to an estimated 15,000 as of 2013. In 2012, the Museum of Contemporary Art opened its new permanent location in University Circle at the corner of Mayfield Road, University Circle is served by multiple forms of transportation, including rapid train, bus, bus rapid transit, and circulators
6.
History of Asian art
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The history of Asian art, or Eastern art, includes a vast range of influences from various cultures and religions. Developments in Asian art historically parallel those in Western art, in general a few centuries earlier, Chinese art, Indian art, Korean art, Japanese art, each had significant influence on Western art, and, vice versa. Near Eastern art also had a significant influence on Western art, excluding prehistoric art, the art of Mesopotamia represents the oldest forms of Asian art. Balinese art is art of Hindu-Javanese origin that grew from the work of artisans of the Majapahit Kingdom, from the 16th until the 20th centuries, the village of Kamasan, Klungkung, was the centre of classical Balinese art. During the first part of the 20th century, new varieties of Balinese art developed, since the late twentieth century, Ubud and its neighboring villages established a reputation as the center of Balinese art. Ubud and Batuan are known for their paintings, Mas for their woodcarvings, Celuk for gold and silver smiths, eiseman correctly pointed out that Balinese art is actually carved, painted, woven, and prepared into objects intended for everyday use rather than as object d art. This groundbreaking period of creativity reached a peak in the late 1930s, a stream of famous visitors, including Charlie Chaplin and the anthropologists Gregory Bateson and Margaret Mead, encouraged the talented locals to create highly original works. During their stay in Bali in the mid-1930s, Bateson and Mead collected over 2000 paintings, predominantly from the village of Batuan, among western artists, Spies and Bonnet are often credited for the modernization of traditional Balinese paintings. From the 1950s onwards Baliese artists incorporated aspects of perspective and anatomy from these artists, more importantly, they acted as agents of change by encouraging experimentation, and promoted departures from tradition. The result was an explosion of expression that increased the rate of change in Balinese art. Buddhist art traveled with believers as the spread, adapted. It developed to the north through Central Asia and into Eastern Asia to form the Northern branch of Buddhist art, bhutanese art is similar to the art of Tibet. Both are based upon Vajrayana Buddhism, with its pantheon of divine beings, the major orders of Buddhism in Bhutan are Drukpa Kagyu and Nyingma. The former is a branch of the Kagyu School and is known for documenting the lineage of Buddhist masters. The Nyingma order is known for images of Padmasambhava, who is credited with introducing Buddhism into Bhutan in the 7th century, according to legend, Padmasambhava hid sacred treasures for future Buddhist masters, especially Pema Lingpa, to find. The treasure finders are also frequent subjects of Nyingma art, each divine being is assigned special shapes, colors, and/or identifying objects, such as lotus, conch-shell, thunderbolt, and begging bowl. All sacred images are made to specifications that have remained remarkably unchanged for centuries. Wall paintings and sculptures, in regions, are formulated on the principal ageless ideals of Buddhist art forms
7.
Art of ancient Egypt
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Ancient Egyptian art is the painting, sculpture, architecture and other arts produced by the civilization of ancient Egypt in the lower Nile Valley from about 3000 BC to 30 AD. Ancient Egyptian art reached a level in painting and sculpture. It was famously conservative, and Egyptian styles changed remarkably little over more than three thousand years, much of the surviving art comes from tombs and monuments and thus there is an emphasis on life after death and the preservation of knowledge of the past. Ancient Egyptian art included paintings, sculpture in wood, stone and ceramics, drawings on papyrus, faience, jewelry, ivories and it displays an extraordinarily vivid representation of the ancient Egyptians socioeconomic status and belief systems. This appears as early as the Narmer Palette from Dynasty I, other conventions make statues of males darker than females ones. Egyptian art uses hierarchical proportion, where the size of figures indicates their relative importance, symbolism can be observed throughout Egyptian art and played an important role in establishing a sense of order. The pharaohs regalia, for example, represented his power to maintain order, animals were also highly symbolic figures in Egyptian art. Not all Egyptian reliefs were painted, and less prestigious works in tombs, Stone surfaces were prepared by whitewash, or if rough, a layer of coarse mud plaster, with a smoother gesso layer above, some finer limestones could take paint directly. Pigments were mostly mineral, chosen to withstand sunlight without fading. The binding medium used in painting remains unclear, egg tempera and various gums and it is clear that true fresco, painted into a thin layer of wet plaster, was not used. Instead the paint was applied to dried plaster, in what is called fresco a secco in Italian, small objects including wooden statuettes were often painted using similar techniques. Many ancient Egyptian paintings have survived in tombs, and sometimes temples, the paintings were often made with the intent of making a pleasant afterlife for the deceased. The themes included journey through the afterworld or protective deities introducing the deceased to the gods of the underworld, some tomb paintings show activities that the deceased were involved in when they were alive and wished to carry on doing for eternity. In the New Kingdom and later, the Book of the Dead was buried with the entombed person and it was considered important for an introduction to the afterlife. Egyptian paintings are painted in such a way to show a profile view, for example, the painting to the right shows the head from a profile view and the body from a frontal view. Their main colors were red, blue, green, gold, black, the monumental sculpture of ancient Egypts temples and tombs is world-famous, but refined and delicate small works exist in much greater numbers. The Egyptians used the technique of sunk relief, which is well suited to very bright sunlight. The distinctive pose of standing statues facing forward with one foot in front of the other was helpful for the balance and it was adopted very early and remained unchanged until the arrival of the Greeks
8.
Euclid Avenue (Cleveland)
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Euclid Avenue is a major street in Cleveland, Ohio. It runs northeasterly from the Public Square in Downtown Cleveland, through the cities of East Cleveland, Euclid and Wickliffe, to the suburb of Willoughby as a part of U. S. Route 20 and U. S. Route 6. The HealthLine bus rapid transit line runs in designated bus lanes in the median of Euclid Avenue from Public Square to Louis Stokes Station at Windermere in East Cleveland. It received nationwide attention from the 1860s to the 1920s for its beauty and wealth, there are several theaters, banks, and churches along Euclid, as well as Clevelands oldest extant building, the Dunham Tavern. A large reconstruction project, which brought the HealthLine to the street, was completed in 2008, in the second half of the 19th century and early in the 20th century, Euclid Avenue was internationally known. Baedekers Travel Guides called the elm-lined avenue The Showplace of America, the concentration of wealth was unparalleled, the tax valuation of the mansions along the Avenue far exceeded the valuation of New Yorks Fifth Avenue in the late 19th century. Accounts at the time compared it to the Avenue des Champs-Élysées in Paris, lang, Worthy S. Streator, Mary Corinne Quintrell, and Charles Lathrop Pack. Architect Charles F. Schweinfurth designed at least 15 mansions on the street, Samuel Mathers mansion, built around 1910, was among the last to be built on Euclid Avenue. The Mather Mansion remains as part of Cleveland State University, Charles Lathrop Pack is credited with at least part of the development of Euclid Avenue, on which he lived from about 1888 to the early years of the 20th century, into a thriving business district. According to Eyle, In 1913, an article about Charles reported that inside of ten years. the have disappeared, in their stead are skyscrapers, great retail establishments, magnificent banks, and a hotel that cost $2,000,000. Much of the land is owned by Mr. Pack and is leased for long periods and he helped to organize the companies which erected the buildings. It is said that his rentals, out of not a penny is subtracted for taxes or anything else. As Clevelands commercial district began to push eastward along Euclid Avenue, by the 1920s, the former Millionaires Row was in decline. During the Great Depression, many mansions were converted by their owners into rooming houses, in the 1950s, Clevelands Innerbelt Freeway cut through the Euclid Avenue neighborhood between downtown and the rail crossing at East 55th Street. By the 1960s, the street that once rivaled Fifth Avenue as the most expensive address in America was a two-mile long slum of commercial buildings and substandard housing. In the late 1960s, Cleveland Cavaliers owner Nick Mileti announced plans to move the club from Euclid Avenues Cleveland Arena to a new arena in suburban Richfield Township. Eight houses from the era remain on Euclid, including the Samuel Mather, the most recent to be demolished was the Lyman Treadway Mansion, which served as part of the Cleveland Museum of Health from the 1930s until it was razed in 2002 for a new museum building. The Euclid Avenue Historic District is listed on the National Register of Historic Places, on August 5,1914, the American Traffic Signal Company installed a traffic signal system on the corner of East 105th Street and Euclid Avenue, the first traffic light installed in the United States
9.
Georgia Marble Company
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The Georgia Marble Company was founded in 1884 by Samuel Tate. Tate leased out all the land in Pickens County, Georgia, Pickens County has a vein of marble 5 to 7 miles long, a half mile wide, and up to 2,000 feet deep. In the 1830s Henry Fitzsimmons established the first marble quarry in Pickens County, the land had been used by Native Americans for the same purpose since as early as 800 AD. In 1884, Samuel Tate founded the Georgia Marble Company, in 1905 Colonel Sam Tate partnered with Earl Mayes Caldwell and the two became co-presidents and general managers of the company. The business grew rapidly, until concrete began to replace marble in buildings, in 1969, with business falling, the company was purchased by Jim Walter Corporation. Over the next few decades it changed several times, passing through ownership by Kohlberg Kravis Roberts and Company, Hillsborough Holding Corporation, First Chicago Corporation. Finally, in 2003, the dimension stone division of Georgia Marble Company was acquired by Polycor. On January 7,1946 the Etowah River in nearby Cherokee County reached a depth of 26.7 feet, and flooded the county including the Georgia Marble Company plant, which was covered with one foot of water. The companys mines contain some of the best quality marble, the marble, when exposed to the weather tends to become less durable from acid rain. The mine is plentiful and every variety with every size is extractable with machinery, types of marble include crystallized marble, and white sanctuary marble ranging in a variety of colors. Official website Pickens county marble festival Beauty in Stone, The Industrial Films of the Georgia Marble Company from the Digital Library of Georgia
10.
Beaux-Arts architecture
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Beaux-Arts architecture expresses the academic neoclassical architectural style taught at the École des Beaux-Arts in Paris. The style of instruction that produced Beaux-Arts architecture continued without interruption until 1968. The Beaux-Arts style heavily influenced the architecture of the United States in the period from 1880 to 1920, in contrast, many European architects of the period 1860–1914 outside France gravitated away from Beaux-Arts and towards their own national academic centers. American architects of the Beaux-Arts generation often returned to Greek models, for the first time, repertories of photographs supplemented meticulous scale drawings and on-site renderings of details. Beaux-Arts training emphasized the production of quick conceptual sketches, highly finished perspective presentation drawings, close attention to the program, site considerations tended toward social and urbane contexts. In the façade shown to the right, Diana grasps the cornice she sits on in an action typical of Beaux-Arts integration of sculpture with architecture. A sense of appropriate idiom at the craftsman level supported the teams of the first truly modern architectural offices. The prestige of the École gave the style Beaux-Arts a second wind in combining the new manner with the traditional training and they were followed by an entire generation. Henry Hobson Richardson absorbed Beaux-Arts lessons in massing and spatial planning and his Beaux-Arts training taught him to transcend slavish copying and recreate in the essential fully digested and idiomatic manner of his models. Richardson evolved a personal style freed of historicism that was influential in early Modernism. The White City of the Worlds Columbian Exposition of 1893 in Chicago was a triumph of the movement, the Beaux-Arts curriculum was subsequently begun at Columbia University, the University of Pennsylvania, and elsewhere. From 1916, the Beaux-Arts Institute of Design in New York City schooled architects, painters, bosworth, Carnegie Mellon University, designed by Henry Hornbostel, and the University of Texas, designed by Paul Philippe Cret. Beaux-Arts architecture also brought a civic face to the railroad, two of the best American examples of the Beaux-Arts tradition stand within a few blocks of each other, Grand Central Terminal and the New York Public Library. Another prominent U. S. example of the style is the largest academic dormitory in the world, in the late 1800s, during the years when Beaux-Arts architecture was at a peak in France, Americans were one of the largest groups of foreigners in Paris. Many of them were architects and students of architecture who brought this back to America. Beaux-Arts was very prominent in public buildings in Canada in the early 20th century, notably all three prairie provinces legislative buildings are in this style. Buenos Aires is a center of Beaux-Arts architecture which continued to be built as late as the 1950s, national Theatre, Melbourne General Post Office building, Forrest Place, Perth Argus Building. Beaux-Arts Architecture in New York, A Photographic Guide United States, sixteenth Street Architecture – profiles of Beaux-Arts architecture in Washington D. C
11.
Hubbell & Benes
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Hubbell & Benes was a prominent Cleveland, Ohio architectural firm formed by Benjamin Hubbell and W. Dominick Benes in 1897 after the pair departed from Coburn, Barnum, Benes & Hubbell. Their work included commercial and residential buildings as well as telephone exchange buildings, before teaming up they worked for Coburn and Barnum. Benes was Jeptha Wade’s personal architect and designed numerous buildings, commercial buildings. Hubbell retired in 1927, but the continued and outlived both its original partners. In 1960 it was known as Hubbell, Benes & Hoff, many of the firms drawings are collected at the Western Reserve Historical Society. The firm was known for its designs in Classical Revival architecture. A number of their works are listed on the U. S. National Register of Historic Places, since demolished Mather College Gymnasium at 11120 Bellflower Road. Part of Flora Stone Mather College, St. Thomas Episcopal Church,214 E. Second St. Port Clinton, OH, NRHP-listed One or more works in South Brooklyn Commercial District, roughly along Pearl, Cleveland, OH, NRHP-listed Residence for Arthur Odell at 1715 East 82nd Street. Demolished Residence for Arthur ODell at 1709 East 82nd Street, Demolished Residence for Atthur Odell at 1725 East 82nd Street. Demolished Cornell Alumni Hall Ithaca, New York Residence of W. B. White Residence for Benjamin Hubbell at 1672 East 117th Street. Dorn Residence Stephen L. Peirce Residence at 17856 Lake Road in Lakewood, Demolished Equity Savings and Loan at 5701 Euclid. Demolished Commercial block for Joseph Carabelli Demolished Commercial block for J. H. Wade Demolished Cleveland Telephone Co building at 5300 Prospect Avenue, Demolished East End School Demolished Cleveland School of Art -Art Studio Building Demolished Brayton Residence at 10803 Magnolia Drive. Demolished Wade Garretson Residence at 10804 Magnolia Drive, Demolished Cleveland Telephone Company Eddy Exchange at 12225 St. Clair Avenue Residence for J. H. Wade in Gates Mills, Ohio C. L. F. Weiber Residence at 12574 Lake Avenue in Lakewood, Ohio, Demolished Residence for J. H. Wade at 10831 Magnolia Drive Albert and Caleb Gowan Residence at 11120 Magnolia Drive. Demolished Residence of J. W. Wade in Gates Mills, pettee Residence at 11610 Edgewater Drive. Demolished Cleveland Telephone Company Fairmount Exchange at 13174 Cedar Road in Cleveland Heights Hough Avenue Congregational Church, Demolished T. B. Stauffer Residence Cleveland Telephone Company St. Clair Exchange at 12221 St. Clair Avenue National Malleable Castings building at 10600 Quincy Avenue. Kositzsky Cottage Carmi Thompson Residence G. C, king III Residence Dr Stoner Residence Carabelli Commercial Building Cleveland Builders Supply Stable and Warehouse Demolished Cliffside Office Building D. L
12.
Jeptha Wade
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Jeptha Homer Wade was an American industrialist, philanthropist, and one of the founding members of Western Union Telegraph. Wade was born in Romulus, New York, the youngest of nine children of Jeptha and he made the first Daguerreotypes west of New York, was a portrait painter, and moved to Adrian, Michigan in 1840 before developing an interest in the telegraph. In 1847, he was subcontractor for J. J, speed and constructed a telegraph line from Detroit to Jackson, Michigan, where Wade and his son operated the telegraph office. He also connected Detroit, Michigan to Buffalo, New York Cleveland to Cincinnati, Wade moved to Cleveland, Ohio in 1856 and built a mansion on Euclid Avenue along Millionaires Row. He and his family commissioned the Cleveland firm of Hubbell & Benes to design several residences, commercial. In 1856 he helped Hiram Sibley consolidate most of the industry by forming Western Union through a series of acquisitions. In 1861, Jeptha Wade joined forces with Benjamin Franklin Ficklin, the companys formation completed the linkage between the east and west coast of the United States by telegraph. Wade became president of Western Union in 1866, a year later he resigned because of ill-health and sold his interests to Jay Gould, and William Orton succeeded to the presidency of Western Union. He was nominated by the Democratic Party for Representative of Ohios 18th congressional district in 1864, Wade used his vast wealth to benefit the city of Cleveland. In 1882, he donated 63 acres of land east of the city for the purpose of creating Wade Park, which was named in his honor. Wade Park is Clevelands cultural center surrounded by the Cleveland Museum of Art, the Cleveland Museum of Natural History, the Western Reserve Historical Society, Wade also was heavily involved with the establishment of Hathaway Brown School, a private academy for young girls and women. He also co-founded the Case School of Applied Technology, which became part of Case Western Reserve University. In addition, Wade served as the first President of the Board of Trustees for Lake View Cemetery on Cleveland’s east side, Wade married Rebecca Louiza Facer in 1832, who bore his first son, Randall Palmer Wade, later that year. Rebecca Wade died November 30,1836 at the age of 24 and he remarried in 1837 to Susan Maranda Fleming, with whom they adopted 4 more children. All are buried in Lake View Cemetery, Cleveland, wades grandchildren included Jeptha Homer Wade II, son of Randall Palmer Wade and Anna Rebecca McGaw Wade. He established the familys Mill Pond Plantation in Thomasville, Georgia in 1906 and he bequeathed to the Cleveland Museum of Natural History a large gem collection that is now part of the Jeptha Homer Wade II Gallery of Gems and Jewels. He graduated from Massachusetts Institute of Technology in 1946 and Harvard Law School in 1950 and he was an advocate for nuclear arms control, president of the Lawyers Alliance for Nuclear Arms Control. The large tract of old-growth forest will be conserved for research on the ecology of longleaf pine forests
13.
National Register of Historic Places
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The National Register of Historic Places is the United States federal governments official list of districts, sites, buildings, structures, and objects deemed worthy of preservation. The passage of the National Historic Preservation Act in 1966 established the National Register, of the more than one million properties on the National Register,80,000 are listed individually. The remainder are contributing resources within historic districts, each year approximately 30,000 properties are added to the National Register as part of districts or by individual listings. For most of its history the National Register has been administered by the National Park Service and its goals are to help property owners and interest groups, such as the National Trust for Historic Preservation, coordinate, identify, and protect historic sites in the United States. While National Register listings are mostly symbolic, their recognition of significance provides some financial incentive to owners of listed properties, protection of the property is not guaranteed. During the nomination process, the property is evaluated in terms of the four criteria for inclusion on the National Register of Historic Places, the application of those criteria has been the subject of criticism by academics of history and preservation, as well as the public and politicians. Occasionally, historic sites outside the proper, but associated with the United States are also listed. Properties can be nominated in a variety of forms, including individual properties, historic districts, the Register categorizes general listings into one of five types of properties, district, site, structure, building, or object. National Register Historic Districts are defined geographical areas consisting of contributing and non-contributing properties, some properties are added automatically to the National Register when they become administered by the National Park Service. These include National Historic Landmarks, National Historic Sites, National Historical Parks, National Military Parks/Battlefields, National Memorials, on October 15,1966, the Historic Preservation Act created the National Register of Historic Places and the corresponding State Historic Preservation Offices. Initially, the National Register consisted of the National Historic Landmarks designated before the Registers creation, approval of the act, which was amended in 1980 and 1992, represented the first time the United States had a broad-based historic preservation policy. To administer the newly created National Register of Historic Places, the National Park Service of the U. S. Department of the Interior, hartzog, Jr. established an administrative division named the Office of Archeology and Historic Preservation. Hartzog charged OAHP with creating the National Register program mandated by the 1966 law, ernest Connally was the Offices first director. Within OAHP new divisions were created to deal with the National Register, the first official Keeper of the Register was William J. Murtagh, an architectural historian. During the Registers earliest years in the late 1960s and early 1970s, organization was lax and SHPOs were small, understaffed, and underfunded. A few years later in 1979, the NPS history programs affiliated with both the U. S. National Parks system and the National Register were categorized formally into two Assistant Directorates. Established were the Assistant Directorate for Archeology and Historic Preservation and the Assistant Directorate for Park Historic Preservation, from 1978 until 1981, the main agency for the National Register was the Heritage Conservation and Recreation Service of the United States Department of the Interior. In February 1983, the two assistant directorates were merged to promote efficiency and recognize the interdependency of their programs, jerry L. Rogers was selected to direct this newly merged associate directorate
14.
Marcel Breuer
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Marcel Lajos Breuer, was a Hungarian-born modernist, architect and furniture designer. He was recognized by Gropius as a significant talent and was put at the head of the Carpentry Shop. When the chair was re-released in the 1960s, it was designated Wassily by its Italian manufacturer and it was Gropius who assigned Breuer interiors at the 1927 Weissenhofsiedlung and led him to his first house assignment for the Harnischmachers in Wiesbaden in 1932. Sigfried Giedion extended their furniture collaboration at the Wohnbedarf in Zurich to include a furniture showroom, in 1936, at Gropiuss suggestion, Breuer relocated to London. Breuers departure from then Nazi Germany has led scholars to lump him with the group of Jewish architects and artists who fled the country at that time. Breuer had declared himself as non-religious in order to marry his Bauhaus sweetheart, while in London, Breuer was employed by Jack Pritchard at the Isokon company, one of the earliest proponents of modern design in the United Kingdom. Breuer designed his Long Chair as well as experimenting with bent, between 1935 and 1937 he worked in practice with the English Modernist F. R. S. Yorke with whom he designed a number of houses. In 1937, Gropius accepted the appointment as chairman of Harvards Graduate School of Design and again Breuer followed his mentor to join the faculty in Cambridge, M. Pei, Ulrich Franzen, John Johansen, and Philip Johnson. One of the most intact examples of Breuers furniture and interior design work during this period is the Frank House in Pittsburgh, Breuer built two houses for himself in New Canaan, Connecticut, one from 1947 to 1948, and the other from 1951 to 1952. A demonstration house set up in the MoMA garden in 1949 caused a flurry of interest in the work. When the show was over, the House in the Garden was dismantled and barged up the Hudson River for reassembly on the Rockefeller property in Pocantico Hills near Sleepy Hollow. Breuer designed the Washington, D. C. headquarters building for the U. S. Department of Housing, while the building received some initial praise, in recent decades it has received widespread criticism. Former Secretary of Housing and Urban Development Jack Kemp once described the building as 10 floors of basement, another former Secretary, Shaun Donovan, has noted that the building itself is among the most reviled in all of Washington—and with good reason. Many critics have argued that Breuers design is unoriginal, and essentially mimics the UNESCO Headquarters and their contribution to his life work has largely been credited properly, though the critics and public rightly recognized a Breuer Building when they saw one. The punctured wooden walls that characterized his famous 1948 House in the Garden for MoMA and this included the first of his houses in New Canaan, Connecticut, with its balcony hung off a cantilever. Some critics spoke of repetitiveness but Breuer quoted a professional friend, Breuer was awarded the Gold Medal of the American Institute of Architects at their 100th annual convention in 1968 at Portland, Oregon. In an ironic timing of events, it coincided with general criticism of one of Americas favorite architects for his willingness to design an office building on top of Grand Central Station. It cost him friends and supporters although its defeat by the US Supreme Court established the right of New York
15.
Modern architecture
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Modern architecture or modernist architecture is a term applied to a group of styles of architecture which emerged in the first half of the 20th century and became dominant after World War II. The revolution in materials came first, with the use of cast iron, plate glass, the cast plate glass process was invented in 1848, allowing the manufacture of very large windows. The Crystal Palace by Joseph Paxton at the Great Exhibition of 1851 was an example of iron and plate glass construction, followed in 1864 by the first glass. These developments together led to the first steel-framed skyscraper, the ten-story Home Insurance Building in Chicago, the iron frame construction of the Eiffel Tower, then the tallest structure in the world, captured the imagination of millions of visitors to the 1889 Paris Universal Exposition. French industrialist François Coignet was the first to use iron-reinforced concrete, in 1853 Coignet built the first iron reinforced concrete structure, a four story house in the suburbs of Paris. Another important technology for the new architecture was electric light, which reduced the inherent danger of fires caused by gas in the 19th century. This break with the past was particularly urged by the architectural theorist, for each function its material, for each material its form and its ornament. This book influenced a generation of architects, including Louis Sullivan, Victor Horta, Hector Guimard, at the end of the 19th century, a few architects began to challenge the traditional Beaux Arts and Neoclassical styles that dominated architecture in Europe and the United States. The Glasgow School of Art 1896-99) designed by Charles Rennie MacIntosh, had a facade dominated by large bays of windows. The Art Nouveau style was launched in the 1890s by Victor Horta in Belgium and Hector Guimard in France, it introduced new styles of decoration, based on vegetal and floral forms. In 1903-1904 in Paris Auguste Perret and Henri Sauvage began to use reinforced concrete, previously used for industrial structures. Between 1910 and 1913, Auguste Perret built the Théâtre des Champs-Élysées, because of the concrete construction, no columns blocked the spectators view of the stage. Otto Wagner, in Vienna, was another pioneer of the new style, in his book Moderne Arkchtekture he had called for a more rationalist style of architecture, based on modern life. Wagner declared his intention to express the function of the building in its exterior, the reinforced concrete exterior was covered with plaques of marble attached with bolts of polished aluminum. The interior was purely functional and spare, an open space of steel, glass. The Viennese architect Adolf Loos also began removing any ornament from his buildings and his Steiner House, in Vienna, was an example of what he called rationalist architecture, it had a simple stucco rectangual facade with square windows and no ornament. The fame of the new movement, which known as the Vienna Secession spread beyond Austria. Josef Hoffmann, a student of Wagner, constructed a landmark of early modernist architecture and this residence, built of brick covered with Norwegian marble, was composed of geometric blocks, wings and a tower
16.
Wade Park (Cleveland park)
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Wade Park is a park in the University Circle neighborhood of Cleveland, Ohio. Though not technically a historical landmark itself, the park falls within the eponymous Wade Park historical district and serves as a backdrop for most of its registered buildings. The sites early owner, Jeptha Wade, began to develop it into a park in 1872, in 1882, he donated the 63-acre plot to the city government, which later purchased additional land to expand it. As Wade had envisioned, the became the home of an art museum in 1916 with the opening of the Cleveland Museum of Art. The park also contains the Wade Park Fine Arts Garden, where a number of sculptures from the CMAs holdings are showcased, the bulk of this collection are located between the original 1916 main entrance to the building and the lagoon. The collection includes a large cast of Auguste Rodins The Thinker, today, the damage—which is notated on the plaque mounted at the base of the statues pedestal—has come to define the casting as unique among the more than twenty original large castings. Wade Park also borders two sections of the citys larger Rockefeller Park, one lies on Wade Parks northwestern border along Martin Luther King Jr. Dr. and the other directly across University Circle to the southeast on Euclid Ave, the Cleveland Museum of Art - Located at the southern entrance of the park along Euclid Avenue, the museum sits behind Wade Lagoon. Media related to Wade Park at Wikimedia Commons
17.
Lagoon
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A lagoon is a shallow body of water separated from a larger body of water by barrier islands or reefs. Lagoons are commonly divided into coastal lagoons and atoll lagoons and they have also been identified as occurring on mixed-sand and gravel coastlines. There is an overlap between bodies of water classified as coastal lagoons and bodies of water classified as estuaries, lagoons are common coastal features around many parts of the world. Lagoons can also be man-made and used for treatment, as is the case for e. g. aerated lagoons. Lagoons are shallow, often elongated bodies of water separated from a body of water by a shallow or exposed shoal, coral reef. Some authorities include fresh water bodies in the definition of lagoon, the distinction between lagoon and estuary also varies between authorities. Richard A. Davis Jr. restricts lagoon to bodies of water with little or no fresh water inflow, and little or no tidal flow, Davis does state that the terms lagoon and estuary are often loosely applied, even in scientific literature. Timothy M. Kusky characterizes lagoons as normally being elongated parallel to the coast, while estuaries are usually drowned river valleys, coastal lagoons are classified as inland bodies of water. Many lagoons do not include lagoon in their common names, in England, The Fleet at Chesil Beach has also been described as a lagoon. In Latin America, the term laguna in Spanish, which translates to. However, sometimes it is used to describe a full-sized lake, such as Laguna Catemaco in Mexico. The brackish water lagoon may be explicitly identified as a coastal lagoon. In Portuguese the same usage is found, lagoa may be a body of sea water. Lagoon is derived from the Italian laguna, which refers to the waters around Venice, Laguna is attested in English by at least 1612, and had been Anglicized to lagune by 1673. In 1697 William Dampier referred to a Lagune or Lake of Salt water on the coast of Mexico, captain James Cook described an island of Oval form with a Lagoon in the middle in 1769. Atoll lagoons form as coral reefs grow upwards while the islands that the reefs surround subside, unlike the lagoons that form shoreward of fringing reefs, atoll lagoons often contain some deep portions. Coastal lagoons form along gently sloping coasts where barrier islands or reefs can develop off-shore, coastal lagoons do not form along steep or rocky coasts, or if the range of tides is more than 4 metres. Due to the slope of the coast, coastal lagoons are shallow
18.
Chester Beach
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Chester A. Beach was an American sculptor who was known for his busts and medallic art. Beach was born in San Francisco, California and he studied initially at the California School of Mechanical Arts and worked as a jewelry designer immediately afterward, while continuing his art studies at the Mark Hopkins Institute of Art. In 1903 he moved to New York City and in May 1904 and he returned to the U. S. in 1907 and quickly gained a following for his representations of allegorical and mythical figures. That year, he established his studio in Manhattan, which he maintained for the next forty-five years and he was soon elected to the National Sculpture Society, the Salmagundi Club and the American Numismatic Society. When he was selected to join the National Academy of Design and he was also later selected for the National Institute of Arts and Letters. In 1910, Beach married Eleanor Hollis Murdock, whom he had met while in France, the couple settled in Rome for two years, returning to the U. S. in 1912 with their first daughter Beata. Daughters Eleanor and Natalie were born in America and his first major commission came in 1915, when he designed three statues for the Panama-Pacific International Exposition, for which he received a Silver Medal. His 1919 submission for a medal commemorating the Treaty of Versailles was selected as the winner by the American Numismatic Society and he engraved the Hawaii Sesquicentennial half dollar, which was designed by Juliette May Fraser and issued in 1928. His best-known busts are found in the New York University Hall of Fame, a prolific worker, Beach exhibited works yearly without fail at the National Academy of Design winter and annual exhibitions from 1907–26. He was president of the National Sculpture Society from 1926–27 and also taught at the Beaux-Arts Institute of Design and he received the Numismatic Societys Saltus Medal in 1946 for his medallic work. In 1917 Beach built a studio in Brewster, New York on 10 acres of land he acquired in trade from a farmer for two sculptures. A year later he built a home for his family of stone from the old walls on the property. This became known as Old Walls and he built an additional cottage on the property in 1947 known as The Camp. Beach died on August 6,1956 in Brewster, New York
19.
American Revolutionary War
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From about 1765 the American Revolution had led to increasing philosophical and political differences between Great Britain and its American colonies. The war represented a culmination of these differences in armed conflict between Patriots and the authority which they increasingly resisted. This resistance became particularly widespread in the New England Colonies, especially in the Province of Massachusetts Bay. On December 16,1773, Massachusetts members of the Patriot group Sons of Liberty destroyed a shipment of tea in Boston Harbor in an event that became known as the Boston Tea Party. Named the Coercive Acts by Parliament, these became known as the Intolerable Acts in America. The Massachusetts colonists responded with the Suffolk Resolves, establishing a government that removed control of the province from the Crown outside of Boston. Twelve colonies formed a Continental Congress to coordinate their resistance, and established committees, British attempts to seize the munitions of Massachusetts colonists in April 1775 led to the first open combat between Crown forces and Massachusetts militia, the Battles of Lexington and Concord. Militia forces proceeded to besiege the British forces in Boston, forcing them to evacuate the city in March 1776, the Continental Congress appointed George Washington to take command of the militia. Concurrent to the Boston campaign, an American attempt to invade Quebec, on July 2,1776, the Continental Congress formally voted for independence, issuing its Declaration on July 4. Sir William Howe began a British counterattack, focussing on recapturing New York City, Howe outmaneuvered and defeated Washington, leaving American confidence at a low ebb. Washington captured a Hessian force at Trenton and drove the British out of New Jersey, in 1777 the British sent a new army under John Burgoyne to move south from Canada and to isolate the New England colonies. However, instead of assisting Burgoyne, Howe took his army on a campaign against the revolutionary capital of Philadelphia. Burgoyne outran his supplies, was surrounded and surrendered at Saratoga in October 1777, the British defeat in the Saratoga Campaign had drastic consequences. Giving up on the North, the British decided to salvage their former colonies in the South, British forces under Lieutenant-General Charles Cornwallis seized Georgia and South Carolina, capturing an American army at Charleston, South Carolina. British strategy depended upon an uprising of large numbers of armed Loyalists, in 1779 Spain joined the war as an ally of France under the Pacte de Famille, intending to capture Gibraltar and British colonies in the Caribbean. Britain declared war on the Dutch Republic in December 1780, in 1781, after the British and their allies had suffered two decisive defeats at Kings Mountain and Cowpens, Cornwallis retreated to Virginia, intending on evacuation. A decisive French naval victory in September deprived the British of an escape route, a joint Franco-American army led by Count Rochambeau and Washington, laid siege to the British forces at Yorktown. With no sign of relief and the situation untenable, Cornwallis surrendered in October 1781, Whigs in Britain had long opposed the pro-war Tory majority in Parliament, but the defeat at Yorktown gave the Whigs the upper hand
20.
Auguste Rodin
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François Auguste René Rodin, known as Auguste Rodin, was a French sculptor. Although Rodin is generally considered the progenitor of modern sculpture, he did not set out to rebel against the past and he was schooled traditionally, took a craftsman-like approach to his work, and desired academic recognition, although he was never accepted into Pariss foremost school of art. Sculpturally, Rodin possessed an ability to model a complex, turbulent. Many of his most notable sculptures were roundly criticized during his lifetime and they clashed with predominant figurative sculpture traditions, in which works were decorative, formulaic, or highly thematic. Rodins most original work departed from traditional themes of mythology and allegory, modeled the human body with realism, Rodin was sensitive to the controversy surrounding his work, but refused to change his style. Successive works brought increasing favor from the government and the artistic community, by 1900, he was a world-renowned artist. Wealthy private clients sought Rodins work after his Worlds Fair exhibit and he married his lifelong companion, Rose Beuret, in the last year of both their lives. His sculptures suffered a decline in popularity after his death in 1917, Rodin remains one of the few sculptors widely known outside the visual arts community. Rodin was born in 1840 into a family in Paris, the second child of Marie Cheffer and Jean-Baptiste Rodin. He was largely self-educated, and began to draw at age ten, between ages 14 and 17, Rodin attended the Petite École, a school specializing in art and mathematics, where he studied drawing and painting. His drawing teacher, Horace Lecoq de Boisbaudran, believed in first developing the personality of his students so that they observed with their own eyes, Rodin still expressed appreciation for his teacher much later in life. It was at Petite École that he first met Jules Dalou, in 1857, Rodin submitted a clay model of a companion to the École des Beaux-Arts in an attempt to win entrance, he did not succeed, and two further applications were also denied. Given that entrance requirements at the Grande École were not particularly high, Rodins inability to gain entrance may have been due to the judges Neoclassical tastes, while Rodin had been schooled in light, 18th-century sculpture. Leaving the Petite École in 1857, Rodin earned a living as a craftsman, Rodins sister Maria, two years his senior, died of peritonitis in a convent in 1862. Rodin was anguished and felt guilty because he had introduced Maria to an unfaithful suitor, turning away from art, he briefly joined a Catholic order, the Congregation of the Blessed Sacrament. Saint Peter Julian Eymard, founder and head of the congregation, recognized Rodins talent and, sensing his lack of suitability for the order and he returned to work as a decorator, while taking classes with animal sculptor Antoine-Louis Barye. The teachers attention to detail – his finely rendered musculature of animals in motion – significantly influenced Rodin, in 1864, Rodin began to live with a young seamstress named Rose Beuret, with whom he would stay – with ranging commitment – for the rest of his life. The couple had a son, Auguste-Eugène Beuret and that year, Rodin offered his first sculpture for exhibition, and entered the studio of Albert-Ernest Carrier-Belleuse, a successful mass producer of objets dart
21.
The Thinker
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The Thinker is a bronze sculpture by Auguste Rodin, usually placed on a stone pedestal. The work shows a male figure of over life-size sitting on a rock with his chin resting on one hand as though deep in thought and is often used as an image to represent philosophy. Rodin first conceived the figure as part of work in 1880. Originally named The Poet, The Thinker was initially a figure in a commission, begun in 1880. Rodin based this on The Divine Comedy of Dante, and most of the figures in the work represented the main characters in the epic poem. The sculpture is nude, as Rodin wanted a heroic figure in the tradition of Michelangelo and this detail from the Gates of Hell was first named The Thinker by foundry workers, who noted its similarity to Michelangelos statue of Lorenzo de Medici called Il Penseroso. Rodin decided to treat the figure as an independent work, at a larger size, the figure was designed to be seen from below, and is normally displayed on a fairly high plinth, though the heights chosen by the various owners for these vary considerably. The Thinker has been cast in multiple versions and is found around the world, about 28 monumental-sized bronze casts of the sculpture are in museums and public places. In addition, there are sculptures of different study size scales, some newer castings have been produced posthumously and are not considered part of the original production. Rodin made the first small plaster version around 1880, the first large-scale bronze casting was finished in 1902 but not presented to the public until 1904. It became the property of the city of Paris thanks to a subscription organized by Rodin admirers, in 1922, it was moved to the Hôtel Biron, which had been transformed into the Rodin Museum. The first cast sculpture can be found in front of Grawemeyer Hall on the University of Louisville Belknap Campus in Louisville, made in Paris, it was first displayed at the St. Louis Worlds Fair in 1904 and was then given to the city. This sculpture was the only cast created by the casting method. Gerald Cantor Collection, a full text exhibition catalog from The Metropolitan Museum of Art, which material on The Thinker The Penseur. Link to The Thinker at the official Web site of the Musée Rodin, the Thinker Inspiration, Analysis and Critical Reception The Thinker project, Munich. Discussion of the history of the casts of this artwork. Gerald Cantor Center for Visual Arts at Stanford University, Object Number 1988.106, bronze cast No
22.
Weather Underground
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The Weather Underground Organization, commonly known as the Weather Underground, was an American militant radical left-wing organization founded on the Ann Arbor campus of the University of Michigan. Originally called Weatherman, the became known colloquially as the Weathermen. Weatherman organized in 1969 as a faction of Students for a Democratic Society composed for the most part of the national leadership of SDS. Their goal was to create a revolutionary party for the overthrow of the U. S. Government. The Days of Rage, their first public demonstration on October 8,1969, was a riot in Chicago timed to coincide with the trial of the Chicago Seven. In 1970 the group issued a Declaration of a State of War against the United States government, the bombing campaign targeted mostly government buildings, along with several banks. The group stated that the government had been exploiting other nations by waging war as a means of solidifying America as a greater nation, Most were preceded by evacuation warnings, along with communiqués identifying the particular matter that the attack was intended to protest. No people were killed in any of their acts of property destruction, for the bombing of the United States Capitol on March 1,1971, they issued a communiqué saying that it was in protest of the U. S. invasion of Laos. For the bombing of the Pentagon on May 19,1972, for the January 29,1975 bombing of the United States Department of State building, they stated that it was in response to the escalation in Vietnam. The Weathermen grew out of the Revolutionary Youth Movement faction of SDS and it took its name from Bob Dylans lyric, You dont need a weatherman to know which way the wind blows, from the song Subterranean Homesick Blues. You Dont Need a Weatherman to Know Which Way the Wind Blows was the title of a paper that they distributed at an SDS convention in Chicago on June 18,1969. The Weathermen began to disintegrate after the United States reached an accord in Vietnam in 1973. By 1977, the organization was defunct, the Weathermen emerged from the campus-based opposition to the Vietnam War, and from the Civil Rights Movements of the 1960s. One of the factors contributed to the radicalization of SDS members was the Economic Research. This project was aimed at creating a movement of the poor that would mobilize for full and fair employment or guaranteed annual income. Their goal was to create a democratic society which guarantees political freedom, economic and physical security, abundant education. While the initial phase of the SDS involved campus organizing, phase two involved community organizing, in the late 1960s, United States military action in Southeast Asia escalated, especially in Vietnam. In the U. S. the anti-war sentiment was particularly pronounced during the 1968 U. S. presidential election, klonskys document reflected the philosophy of the National Office and was eventually adopted as official SDS doctrine
23.
George Bellows
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George Wesley Bellows was born and raised in Columbus, Ohio. He was the child of George Bellows and Anna Wilhelmina Smith Bellows. He was born four years after his parents married, at the ages of fifty and forty and his mother was the daughter of a whaling captain based in Sag Harbor, Long Island, and his family returned there for their summer vacations. He began drawing well before kindergarten, and his elementary–school teachers often asked him to decorate their classroom blackboards at Thanksgiving, at age 10 George decided to become an athlete, and trained himself to become a popular baseball and basketball player. He became good enough at both sports to play ball for years afterward. During his senior year, a scout from the Indianapolis team made him an offer. He declined, opting to enroll at The Ohio State University, there he played for the baseball and basketball teams, and provided illustrations for the Makio, the schools student yearbook. He was encouraged to become a baseball player, and he worked as a commercial illustrator while a student. Despite these opportunities in athletics and commercial art, Bellows desired success as a painter and he left Ohio State in 1904 just before he was to graduate and moved to New York City to study art. Bellows was soon a student of Robert Henri, before the later-famous artist had set up his own famous school, while studying there, Bellows became associated with Henris The Eight and the Ashcan School, a group of artists who advocated painting contemporary American society in all its forms. By 1906, Bellows and fellow art student Edward Keefe had set up a studio at 1947 Broadway Street, Bellows first achieved widespread notice in 1908, when he and other pupils of Henri organized an exhibition of mostly urban studies. While many critics considered these to be painted, others found them welcomely audacious. Bellows taught at the Art Students League of New York in 1909 and his fame grew as he contributed to other nationally recognized juried shows. Bellows urban New York scenes depicted the crudity and chaos of people and neighborhoods. From 1907 through 1915, he executed a series of paintings depicting New York City under snowfall, however, Bellows series of paintings portraying amateur boxing matches were arguably his signature contribution to art history. They are characterized by dark atmospheres, through which the bright, growing prestige as a painter brought changes in his life and work. Though he continued his earlier themes, Bellows also began to receive commissions, as well as social invitations. Additionally, he followed Henris lead and began to summer in Maine, painting seascapes on Monhegan and Matinicus islands
24.
Stag at Sharkey's
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Stag at Sharkeys is a 1909 oil painting by George Wesley Bellows depicting two boxers fighting in the private athletic club situated across from his studio. It is part of the Ashcan School movement known in particular for depicting scenes of life in early twentieth century New York City. Bellows used quick strokes to create an image, simulating the two fighters in motion. He also chose a low point of view to put the viewer among the crowd watching the fight, participants in the boxing ring were usually members of the club, but occasionally outsiders would fight with temporary memberships. These fighters were known as stags, the painting has been a part of the Cleveland Museum of Arts permanent collection since 1922
25.
Pablo Picasso
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Pablo Ruiz y Picasso, also known as Pablo Picasso, was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Picasso demonstrated extraordinary artistic talent in his years, painting in a naturalistic manner through his childhood. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, Picassos work is often categorized into periods. Much of Picassos work of the late 1910s and early 1920s is in a neoclassical style and his later work often combines elements of his earlier styles. Ruiz y Picasso were included for his father and mother, respectively, born in the city of Málaga in the Andalusian region of Spain, he was the first child of Don José Ruiz y Blasco and María Picasso y López. His mother was of one quarter Italian descent, from the territory of Genoa, though baptized a Catholic, Picasso would later on become an atheist. Picassos family was of middle-class background and his father was a painter who specialized in naturalistic depictions of birds and other game. For most of his life Ruiz was a professor of art at the School of Crafts, Picasso showed a passion and a skill for drawing from an early age. According to his mother, his first words were piz, piz, a shortening of lápiz, from the age of seven, Picasso received formal artistic training from his father in figure drawing and oil painting. Ruiz was an academic artist and instructor, who believed that proper training required disciplined copying of the masters. His son became preoccupied with art to the detriment of his classwork, the family moved to A Coruña in 1891, where his father became a professor at the School of Fine Arts. On one occasion, the father found his son painting over his sketch of a pigeon. In 1895, Picasso was traumatized when his sister, Conchita. After her death, the moved to Barcelona, where Ruiz took a position at its School of Fine Arts. Picasso thrived in the city, regarding it in times of sadness or nostalgia as his true home, Ruiz persuaded the officials at the academy to allow his son to take an entrance exam for the advanced class. This process often took students a month, but Picasso completed it in a week, the student lacked discipline but made friendships that would affect him in later life. His father rented a room for him close to home so he could work alone, yet he checked up on him numerous times a day. Picassos father and uncle decided to send the young artist to Madrids Real Academia de Bellas Artes de San Fernando, at age 16, Picasso set off for the first time on his own, but he disliked formal instruction and stopped attending classes soon after enrolment
26.
Picasso's Blue Period
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These somber works, inspired by Spain and painted in Barcelona and Paris, are now some of his most popular works, although he had difficulty selling them at the time. This periods starting point is uncertain, it may have begun in Spain in the spring of 1901 or in Paris in the half of the year. When Picasso returned to Paris in May, he stayed in the studio of his departed friend, the works Picasso painted for his show at Ambroise Vollards gallery that summer were generally characterized by a dazzling palette and exuberant subject matter. Picassos psychological state worsened as 1901 continued, in the latter part of 1901, Picasso sank into a severe depressionand blue tones began to dominate his paintings. Picassos painting La mort de Casagemas, completed early in the following his friends suicide, was done in hot. The painting considered the first of his Blue Period, Casagemas in His Coffin, was completed later in 1901 when Picasso was sinking into a major depression, Picasso, normally an outgoing socializer, withdrew from his friends. Picassos bout of depression was to last several years, Picassos career had been promising before 1901 and early in that year he was making a splash in Paris. However, as he moved towards subject matter such as poor and outcast, and accented this with a cool, anguished mood with blue hues, the critics. Members of the public were uninterested in displaying the Blue Period works in their homes, Picasso continued his output, but his financial situation suffered, His pictures, not merely melancholy but profoundly depressed and cheerless, inspired no affection in the public or in buyers. It was not poverty that led him to paint the impoverished outsiders of society, from 1901 to 1903, he painted several posthumous portraits of Casagemas, culminating in the gloomy allegorical painting La Vie, painted in 1903 and now in the Cleveland Museum of Art. The same mood pervades the well-known etching The Frugal Repast which depicts a blind man, blindness is a recurrent theme in Picassos works of this period, also represented in The Blindmans Meal and in the portrait of Celestina. Infrared imagery of Picassos 1901 painting The Blue Room reveals another painting beneath the surface, other frequent subjects include female nudes and mothers with children. Solitary figures dominate his Blue Period works, themes of loneliness, poverty and despair pervade the works as well. Possibly his most well known work from this period is The Old Guitarist, other major works include Portrait of Soler and Las dos hermanas. Picassos Blue Period was followed by his Rose Period, the painting Portrait of Suzanne Bloch, one of the final works from this period, was stolen from the São Paulo Museum of Art on December 20,2007, but retrieved on January 8,2008. Picassos African Period Modern art Cirlot, Juan-Eduardo, Picassos False Gods, Authority and Picassos Early Work. Wattenmaker, Richard J. Distel, Anne, et al, great French Paintings from the Barnes Foundation. ISBN 0-679-40963-7 Becht-Jördens, Gereon, Wehmeier, Peter M. Picasso und die christliche Ikonographie
27.
La Vie (painting)
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La Vie is a 1903 oil painting by Pablo Picasso. It is widely regarded as the pinnacle of Picassos Blue Period, La Vie was painted in Barcelona in May 1903. It measured 6 feet tall and 4 feet wide and portrayed two pairs of people, a naked couple confronting a mother bearing a child in her arms. With this Picasso repainted another motif, a birdsman who attacks a reclining naked woman, traces of which are visible to the naked eye. Preparatory studies are, Private collection, Zervos XXII44, Paris, Musée Picasso, MPP473, Barcelona, Museu Picasso, MPB101.507, Barcelona, Museu Picasso and it was painted at a time when Picasso was having no financial success. In contrast, the new painting sold only a month after it was finished, to a French art dealer, the sale was reported in the Barcelona newspaper, Liberal. With La Vie Picasso repainted the canvas of The derniers Moments from 1899, the painting was given by the Hanna fund to the Cleveland Museum of Art, Ohio in 1945 and is in their permanent collection. The interpretation of the composition has been the subject of much discussion. The male figure clearly shows the portrait of Picassos friend, the painter Carlos Casagemas, x-ray photographs show that Picasso first executed a self-portrait that he later replaced by the portrait of his friend. This fact and the circumstance that the confrontation of the two groups happens within a studio makes it verisimilar that self-reflective questions of the young artist are addressed in La Vie. The crucial point indeed, scholars agree, seems to be the enigmatic gesture in the center of the composition, the mother therefore can be seen as the representative of the artist‘s first audience, fascinated by his early mastership of academic art. Reyes Jiménez de Garnica, Malén Gual, Journey through the Blue, institut de Cultura de Barcelona, Museu Picasso, Barcelona 2013. ISBN 978-84-9850-494-1 William H. Robinson, Picasso and the Mysteries of Life, giles, London 2012, ISBN 978-1-907804-21-2 Johannes M. Fox, Vie, La. In, Johannes M. Fox, Picassos Welt, ISBN 978-3-86634-551-5 Raquel González-Escribano, Picasso – Tradition and Avant-Garde. Museo Nacional del Prado, Museo Nacional Centro de Arte Reina Sofía, Madrid 2006, ISBN 978-3-496-01272-6 William H. Robinson, The Artist’s Studio in La Vie. Theater of Life and Arena of Philosophical Speculation, in, Michael FitzGerald, The Artist’s Studio, Hartford 2001, pp. 63−87. Gereon Becht-Jördens/Peter M. Wehmeier, Noli me tangere, mutterbeziehung, Ablösung und künstlerische Positionsbestimmung in Picassos Blauer Periode. Zur Bedeutung christlicher Ikonographie in „La Vie“, in, Franz Müller Spahn/Manfred Heuser/Eva Krebs-Roubicek, Die ewige Jugend
28.
Olivuccio di Ciccarello
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Olivuccio Ceccarello di Ciccarello was an Italian painter. Little is known of his life and he was a native of Camerino and was active from 1388 until his death. In 2002 works formerly attributed to a painter named Carlo da Camerino were re-attributed to Olivuccio di Ciccarello as it had become clear Carlo da Camerino had never existed. He worked at Ancona, where he was the most important painter of the painting school. His works have undergone a remarkable dispersion, and are now exhibited in museums in countries, in Italy, in other European countries. St. Francis of Assisi, Strasbourg, Musée des Beaux-Arts Beheading of St. John the Baptist, Santiago, from Ancona, crucifix, Church of St. Michael the Archangel, Macerata Feltria, Province of Pesaro and Urbino. Dormitio Virginis, 113x170 cm, Civic Art Gallery, Ancona, madonna dellUmiltà e angeli, 73x51 cm, Civic Art Gallery, Ancona. Nardini Editore, Florence 1988 Andrea De Marchi e Matteo Mazzalupi, Pittori ad Ancona nel Quattrocento, Federico Motta Editore, Milan 2008 Andrea De Marchi, Federico Motta Editore, Milan 2008,2002 Media related to Olivuccio di Ciccarello at Wikimedia Commons
29.
Sandro Botticelli
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Alessandro di Mariano di Vanni Filipepi, known as Sandro Botticelli, was an Italian painter of the Early Renaissance. Botticellis posthumous reputation suffered until the late 19th century, since then, among Botticellis best-known works are The Birth of Venus and Primavera. Botticelli was born in the city of Florence in a house in the Via Nuova, BorgOgnissanti, Vasari reported that Botticelli was initially trained as a goldsmith by his brother Antonio. By 1462 he was apprenticed to Fra Filippo Lippi, many of his works have been attributed to the elder master. Influenced also by the monumentality of Masaccios painting, it was from Lippi that Botticelli learned a more intimate, by 1470, Botticelli had his own workshop. The Adoration of the Magi for Santa Maria Novella, contains the portraits of Cosimo de Medici, his sons Piero and Giovanni, the quality of the scene was hailed by Vasari as one of Botticellis pinnacles. In 1481, Pope Sixtus IV summoned Botticelli and other prominent Florentine, the iconological program was the supremacy of the Papacy. Sandros contribution included the Temptations of Christ, the Punishment of the Rebels, thus Vasari characterized the first printed Dante with Botticellis decorations, he could not imagine that the new art of printing might occupy an artist. Recent scholarship suggests otherwise, the Primavera was painted for Lorenzos townhouse in Florence, by 1499, both had been installed at Castello. In these works, the influence of Gothic realism is tempered by Botticellis study of the antique, but if the painterly means may be understood, the subjects themselves remain fascinating for their ambiguity. The complex meanings of these continue to receive widespread scholarly attention, mainly focusing on the poetry. The works do not illustrate particular texts, rather, each relies upon several texts for its significance, of their beauty, characterized by Vasari as exemplifying grace and by John Ruskin as possessing linear rhythm, there can be no doubt. The pictures feature Botticellis linear style emphasized by the soft continual contours, in 1491 he served on a committee to decide upon a façade for the Cathedral of Florence. For this reason, persisting in his attachment to that party, Botticelli biographer Ernst Steinmann searched for the artists psychological development through his Madonnas. In the deepening of insight and expression in the rendering of Marys physiognomy, Botticelli was already little employed in 1502. In 1504 he was a member of the appointed to decide where Michelangelos David would be placed. After his death, his reputation was eclipsed longer and more thoroughly than that of any other major European artist and his paintings remained in the churches and villas for which they had been created and his frescoes in the Sistine Chapel were upstaged by those of Michelangelo. The English collector William Young Ottley, however, had brought Botticellis The Mystical Nativity to London with him in 1799 after buying it in Italy, the Pre-Raphaelite Brotherhood incorporated elements of his work into their own
30.
Caravaggio
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Michelangelo Merisi da Caravaggio was an Italian painter active in Rome, Naples, Malta, and Sicily between 1592 and 1610. His paintings, which combine a realistic observation of the human state, in scarcely a year or so’s sojourn in Naples, he rapidly established himself once more as the most prominent painter, exploiting high-ranking connections. It was not long before these connections gave him an opening to travel on in 1607 to Malta, governed by the Order of Knights Hospitallers, Caravaggio probably hoped that the Knights would provide a channel whereby he could obtain a pardon from the Papacy. Once more his talents made an instant impression, along with the support of noble patrons and his hopes dashed, he contrived to escape and flee once, which before the end of 1608 led to his cancellation from the rolls of the Order. He made for Syracuse in Sicily, where he was received as a guest by a friend from his Roman days, the painter’s face was disfigured and rumours started to circulate of his death. Various commentators have formulated opinions about his state from works supposedly executed at this period. In fact, Caravaggio’s end is shrouded in mystery, mystery that is rendered only denser by conflicting hypotheses, some speak of a natural death from a persistent fever, others of an assassination by emissaries of the Knights of Malta. The loss of the paintings put the deal and his future in doubt, there is evidence that dogged by a serious fever, he was tended by a local religious confraternity near Porto Ercole, then in the Grand Duchy of Tuscany, but succumbed. His death was certified by them as taking place on 18 July 1610, if the story to this point is exact, it is likely he was buried in a paupers’ common grave. As to the place, though this continues to be contested. Famous while he lived, Caravaggio was forgotten almost immediately after his death, despite this, his influence on the new Baroque style that eventually emerged from the ruins of Mannerism was profound. The 20th-century art historian André Berne-Joffroy claimed, What begins in the work of Caravaggio is, quite simply, modern painting. Caravaggio was born in Milan where his father, Fermo, was an administrator and architect-decorator to the Marchese of Caravaggio. His mother, Lucia Aratori, came from a family of the same district. In 1576 the family moved to Caravaggio to escape a plague which ravaged Milan, Caravaggios mother died in 1584, the same year he began his four-year apprenticeship to the Milanese painter Simone Peterzano, described in the contract of apprenticeship as a pupil of Titian. Following his initial training under Simone Peterzano, in 1592 Caravaggio left Milan for Rome, in flight after certain quarrels, in Rome, where there was a demand for paintings to fill the many huge new churches and palazzos being built at the time. It was also a period when the Church was searching for an alternative to Mannerism in religious art that was tasked to counter the threat of Protestantism. Caravaggios innovation was a radical naturalism that combined close observation with a dramatic, even theatrical
31.
El Greco
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Doménikos Theotokópoulos, most widely known as El Greco, was a painter, sculptor and architect of the Spanish Renaissance. El Greco was a nickname, a reference to his Greek origin, El Greco was born in Crete, which was at that time part of the Republic of Venice, and the center of Post-Byzantine art. He trained and became a master within that tradition before traveling at age 26 to Venice, in 1570 he moved to Rome, where he opened a workshop and executed a series of works. During his stay in Italy, El Greco enriched his style elements of Mannerism. In 1577, he moved to Toledo, Spain, where he lived and worked until his death, in Toledo, El Greco received several major commissions and produced his best-known paintings. El Grecos dramatic and expressionistic style was met with puzzlement by his contemporaries, El Greco has been characterized by modern scholars as an artist so individual that he belongs to no conventional school. He is best known for tortuously elongated figures and often fantastic or phantasmagorical pigmentation, El Grecos father, Geórgios Theotokópoulos, was a merchant and tax collector. Nothing is known about his mother or his first wife, also Greek, El Grecos older brother, Manoússos Theotokópoulos, was a wealthy merchant and spent the last years of his life in El Grecos Toledo home. El Greco received his training as an icon painter of the Cretan school. In 1563, at the age of twenty-two, El Greco was described in a document as a master, meaning he was already a master of the guild and presumably operating his own workshop. Three years later, in June 1566, as a witness to a contract, most scholars believe that the Theotokópoulos family was almost certainly Greek Orthodox, although some Catholic sources still claim him from birth. One of his uncles was an Orthodox priest, and his name is not mentioned in the Catholic archival baptismal records on Crete, prevelakis goes even further, expressing his doubt that El Greco was ever a practicing Roman Catholic. Important for his biography, El Greco, still in Crete, painted his Dormition of the Virgin near the end of his Cretan period. Three other signed works of Doménicos are attributed to El Greco, in 1563, at the age of twenty-two, El Greco was already an enrolled master of the local guild, presumably in charge of his own workshop. He left for Venice a few later, and never returned to Crete. His Dormition of the Virgin, of before 1567 in tempera, the painting combines post-Byzantine and Italian Mannerist stylistic and iconographic elements, and incorporates stylistic elements of the Cretan School. It was natural for the young El Greco to pursue his career in Venice, though the exact year is not clear, most scholars agree that El Greco went to Venice around 1567. Knowledge of El Grecos years in Italy is limited and this may mean he worked in Titians large studio, or not
32.
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
33.
Peter Paul Rubens
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Sir Peter Paul Rubens was a Flemish/Netherlandish draughtsman and painter. He is widely considered as the most notable artist of Flemish Baroque art school, the catalogue of his works by Michael Jaffé lists 1,403 pieces, excluding numerous copies made in his workshop. His commissioned works were mostly history paintings, which included religious and mythological subjects and he painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house and he also oversaw the ephemeral decorations of the royal entry into Antwerp by the Cardinal-Infante Ferdinand in 1635. His drawings are mostly extremely forceful but not overly detailed and he also made great use of oil sketches as preparatory studies. For altarpieces he painted on slate to reduce reflection problems. Rubens was born in the city of Siegen to Jan Rubens and he was named in honour of Saint-Peter and Paul, because he was born on their solemnety. His father, a Calvinist, and mother fled Antwerp for Cologne in 1568, after increased religious turmoil and persecution of Protestants during the rule of the Spanish Netherlands by the Duke of Alba. Jan Rubens became the adviser of Anna of Saxony, the second wife of William I of Orange. Following Jan Rubens imprisonment for the affair, Peter Paul Rubens was born in 1577, the family returned to Cologne the next year. In 1589, two years after his fathers death, Rubens moved with his mother Maria Pypelincks to Antwerp, religion figured prominently in much of his work and Rubens later became one of the leading voices of the Catholic Counter-Reformation style of painting. In Antwerp, Rubens received a Renaissance humanist education, studying Latin, by fourteen he began his artistic apprenticeship with Tobias Verhaeght. Subsequently, he studied under two of the leading painters of the time, the late Mannerist artists Adam van Noort. Much of his earliest training involved copying earlier works, such as woodcuts by Hans Holbein the Younger. Rubens completed his education in 1598, at time he entered the Guild of St. Luke as an independent master. In 1600 Rubens travelled to Italy and he stopped first in Venice, where he saw paintings by Titian, Veronese, and Tintoretto, before settling in Mantua at the court of Duke Vincenzo I Gonzaga. The colouring and compositions of Veronese and Tintoretto had an effect on Rubenss painting. With financial support from the Duke, Rubens travelled to Rome by way of Florence in 1601, there, he studied classical Greek and Roman art and copied works of the Italian masters
34.
Frans Hals
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Frans Hals the Elder was a Dutch Golden Age portrait painter who lived and worked in Haarlem. He is notable for his loose painterly brushwork, and he helped introduce this style of painting into Dutch art. Hals played an important role in the evolution of 17th-century group portraiture, Hals was born in 1582 or 1583 in Antwerp as the son of cloth merchant Franchois Fransz Hals van Mechelen and his second wife Adriaentje van Geertenryck. Like many, Hals parents fled during the Fall of Antwerp from the Spanish Netherlands to Haarlem, Hals studied under Flemish émigré Karel van Mander, whose Mannerist influence, however, is barely noticeable in Hals work. In 1610, Hals became a member of the Haarlem Guild of Saint Luke and he worked on their large art collection that Karel van Mander had described in his Schilderboeck published in Haarlem in 1604. The most notable of these were the works of Geertgen tot Sint Jans, Jan van Scorel, however, the entire collection of paintings was not formally possessed by the city council until 1625, after the city fathers had decided which paintings were suitable for the city hall. The remaining art that was considered too Roman Catholic was sold to Cornelis Claesz van Wieringen and it was in this cultural context that Hals began his career in portraiture, since the market had disappeared for religious themes. The earliest known example of Hals art is the portrait of Jacobus Zaffius and his breakthrough came with the life-sized group portrait The Banquet of the Officers of the St George Militia Company in 1616. His most noted portrait today is the one of René Descartes which he made in 1649, Frans Hals married his first wife Anneke Harmensdochter around 1610. Frans was of Catholic birth, however, so their marriage was recorded in the city hall, unfortunately, the exact date is unknown because the older marriage records of the Haarlem city hall before 1688 have not been preserved. Bavochurch where both are buried, though Frans took over 40 years to join his first wife there, Anneke died in 1615, shortly after the birth of their third child and, of the three, Harmen survived infancy and one had died before Hals second marriage. As biographer Seymour Slive has pointed out, older stories of Frans Hals abusing his first wife were confused with another Haarlem resident of the same name. Indeed, at the time of charges, the artist had no wife to mistreat. After his first wife died, Hals took on the daughter of a fishmonger to look after his children and, in 1617. They married in Spaarndam, a village outside the banns of Haarlem. Frans Hals was a father, and they went on to have eight children. Contemporaries such as Rembrandt moved their households according to the caprices of their patrons, for this reason, we can be sure that all sitters were either from Haarlem or were visiting Haarlem when they had their portraits made. Hals work was in throughout his life, but he lived so long that he eventually went out of style as a painter
35.
Gerard David
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Gerard David was an Early Netherlandish painter and manuscript illuminator known for his brilliant use of color. Only a bare outline of his survives, although some facts are known. He may have been the Meester gheraet van brugghe who became a master of the Antwerp guild in 1515 and he was very successful in his lifetime and probably ran two workshops, in Antwerp and Bruges. His reputation diminished in the 17th century until he was rediscovered in the 19th century and he was born in Oudewater, now located in the province of Utrecht. His year of birth is approximated as c.1460 on the basis that he looks to be around 50 years in the 1509 self-portrait found in his Virgin among the Virgins and he spent his mature career in Bruges, where he was a member of the painters guild. Upon the death of Hans Memling in 1494, David became Bruges leading painter and he moved to Bruges in 1483, presumably from Haarlem, where he had formed his early style under Albert van Oudewater, and joined the Guild of Saint Luke at Bruges in 1484. He became dean of the guild in 1501, and in 1496 married Cornelia Cnoop, David was one of the towns leading citizens. Ambrosius Benson served his apprenticeship with David, but they came into dispute around 1519 over a number of paintings and drawings Benson had collected from other artists, because of a large debt owed to him by Benson, David had refused to return the material. Benson pursued the matter legally and won, leading to David serving time in prison and he died on 13 August 1523 and was buried in the Church of Our Lady at Bruges. Davids surviving work consists of religious scenes. They are characterised by an atmospheric, timeless, and almost dream like serenity, achieved through soft, warm and subtle colourisation and he is innovative in his recasting of traditional themes and in his approach to landscape, which was then only an emerging genre in northern European painting. His ability with landscape can be seen in the foliage of his Triptych of the Baptism. In his early work David followed Haarlem artists such as Dirk Bouts, Albert van Oudewater and Geertgen tot Sint Jans, to this early period belong the St John of the Richard von Kaufmann collection in Berlin and the Saltings St Jerome. In Bruges came directly under the influence of Memling, the master whom he followed most closely and it was from him that David acquired a solemnity of treatment, greater realism in the rendering of human form, and an orderly arrangement of figures. He visited Antwerp in 1515 and was impressed with the work of Quentin Matsys, who had introduced a greater vitality and intimacy in the conception of sacred themes. Only a few of his works have remained in Bruges, The Judgment of Cambyses, The Flaying of Sisamnes and the Baptism of Christ in the Groeningemuseum, even in his best work he had only given newer variations of the art of his predecessors and contemporaries. His rank among the masters was renewed, however, when a number of his paintings were assembled at the seminal 1902 Gruuthusemuseum, several of his drawings also survive, and elements from these appear in the works of other painters and illuminators for several decades after his death. At the time of Davids death, the glory of Bruges and its painters was on the wane, of Davids pupils in Bruges, only Isenbrant, Albert Cornelis and Ambrosius Benson achieved importance
36.
Francisco Goya
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Francisco José de Goya y Lucientes was a Spanish romantic painter and printmaker. He is considered the most important Spanish artist of late 18th and early 19th centuries and throughout his career was a commentator. Immensely successful in his lifetime, Goya is often referred to as both the last of the Old Masters and the first of the moderns and he was also one of the great portraitists of modern times. He was born to a modest family in 1746 in the village of Fuendetodos in Aragon and he studied painting from age 14 under José Luzán y Martinez and moved to Madrid to study with Anton Raphael Mengs. He married Josefa Bayeu in 1773, the couples life together was characterised by an almost constant series of pregnancies and miscarriages, Goya was a guarded man and although letters and writings survive, little is known about his thoughts. He suffered a severe and undiagnosed illness in 1793 which left him completely deaf, after 1793 his work became progressively darker and more pessimistic. His later easel and mural paintings, prints and drawings appear to reflect a bleak outlook on personal, social and political levels and he was appointed Director of the Royal Academy in 1795, the year Manuel Godoy made an unfavorable treaty with France. In 1799 Goya became Primer Pintor de Cámara, the then-highest rank for a Spanish court painter, in the late 1790s, commissioned by Godoy, he completed his La maja desnuda, a remarkably daring nude for the time and clearly indebted to Diego Velázquez. In 1801 he painted Charles IV of Spain and His Family, in 1807 Napoleon led the French army into Spain. Goya remained in Madrid during the Peninsular War, which seems to have affected him deeply. Although he did not vocalise his thoughts in public, they can be inferred from his Disasters of War series of prints and his 1814 paintings The Second of May 1808 and The Third of May 1808. Goya eventually abandoned Spain in 1824 to retire to the French city of Bordeaux, accompanied by his much younger maid and companion, Leocadia Weiss, there he completed his La Tauromaquia series and a number of other, major, canvases. Following a stroke left him paralyzed on his right side. His body was later re-interred in Spain, Francisco Goya was born in Fuendetodos, Aragón, Spain, on 30 March 1746 to José Benito de Goya y Franque and Gracia de Lucientes y Salvador. The family had moved that year from the city of Zaragoza, José was the son of a notary and of Basque origin, his ancestors being from Zerain, earning his living as a gilder, specialising in religious and decorative craftwork. He oversaw the gilding and most of the ornamentation during the rebuilding of the Basilica of Our Lady of the Pillar, Francisco was their fourth child, following his sister Rita, brother Tomás and second sister Jacinta. There were two sons, Mariano and Camilo. His mothers family had pretensions of nobility and the house, a modest brick cottage, was owned by her family and, perhaps fancifully, about 1749 José and Gracia bought a home in Zaragoza and were able to return to live in the city
37.
J. M. W. Turner
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Joseph Mallord William Turner, RA was an English Romanticist landscape painter. Turner was considered a figure in his day, but is now regarded as the artist who elevated landscape painting to an eminence rivalling history painting. Although renowned for his oil paintings, Turner is also one of the greatest masters of British watercolour landscape painting and he is commonly known as the painter of light. Joseph Mallord William Turner was baptised on 14 May 1775, and it is generally believed he was born between late April and early May. Turner himself claimed he was born on 23 April, but there is no proof and he was born in Maiden Lane, Covent Garden, in London, England. His father, William Turner, was a barber and wig maker and his mother, Mary Marshall, came from a family of butchers. A younger sister, Mary Ann, was born in September 1778, the earliest known artistic exercise by Turner is from this period—a series of simple colourings of engraved plates from Henry Boswells Picturesque View of the Antiquities of England and Wales. Around 1786, Turner was sent to Margate on the north-east Kent coast, here he produced a series of drawings of the town and surrounding area foreshadowing his later work. Turner returned to Margate many times in later life, by this time, Turners drawings were being exhibited in his fathers shop window and sold for a few shillings. His father boasted to the artist Thomas Stothard that, My son, in 1789, Turner again stayed with his uncle who had retired to Sunningwell in Berkshire. A whole sketchbook of work from time in Berkshire survives as well as a watercolour of Oxford. The use of sketches on location, as the foundation for later finished paintings. By the end of 1789, he had begun to study under the topographical draughtsman Thomas Malton. Turner learned from him the tricks of the trade, copying and colouring outline prints of British castles. He would later call Malton My real master, topography was a thriving industry by which a young artist could pay for his studies. In the same year of 1789 he entered the Royal Academy of Art schools, when he was 14 years old, Sir Joshua Reynolds, president of the Royal Academy, chaired the panel that admitted him. At first Turner showed a keen interest in architecture, but was advised by the architect Thomas Hardwick to continue painting and his first watercolour painting A View of the Archbishops Palace, Lambeth was accepted for the Royal Academy summer exhibition of 1790 when Turner was 15. As a probationer in the academy, he was drawing from plaster casts of antique sculptures
38.
Henri Matisse
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Henri-Émile-Benoît Matisse was a French artist, known for both his use of colour and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is primarily as a painter. Although he was labelled a Fauve, by the 1920s he was increasingly hailed as an upholder of the classical tradition in French painting. His mastery of the language of colour and drawing, displayed in a body of work spanning over a half-century. Matisse was born in Le Cateau-Cambrésis, in the Nord department in northern France and he grew up in Bohain-en-Vermandois, Picardie, France. In 1887 he went to Paris to study law, working as an administrator in Le Cateau-Cambrésis after gaining his qualification. He first started to paint in 1889, after his mother brought him art supplies during a period of following an attack of appendicitis. He discovered a kind of paradise as he described it. In 1891 he returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau, initially he painted still lifes and landscapes in a traditional style, at which he achieved reasonable proficiency. Chardin was one of the painters Matisse most admired, as an art student he made copies of four of Chardins paintings in the Louvre, in 1896 and 1897, Matisse visited the Australian painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of van Gogh and he later said Russell was my teacher, and Russell explained colour theory to me. In 1896 Matisse exhibited five paintings in the salon of the Société Nationale des Beaux-Arts, with the model Caroline Joblau, he had a daughter, Marguerite, born in 1894. In 1898 he married Amélie Noellie Parayre, the two raised Marguerite together and had two sons, Jean and Pierre, Marguerite and Amélie often served as models for Matisse. In 1898, on the advice of Camille Pissarro, he went to London to study the paintings of J. M. W. Turner and then went on a trip to Corsica. Upon his return to Paris in February 1899, he worked beside Albert Marquet and met André Derain, Jean Puy, Matisse immersed himself in the work of others and went into debt from buying work from painters he admired. The work he hung and displayed in his home included a plaster bust by Rodin, a painting by Gauguin, a drawing by van Gogh, in Cézannes sense of pictorial structure and colour, Matisse found his main inspiration. Many of Matisses paintings from 1898 to 1901 make use of a Divisionist technique he adopted after reading Paul Signacs essay and his paintings of 1902–03, a period of material hardship for the artist, are comparatively somber and reveal a preoccupation with form. Having made his first attempt at sculpture, a copy after Antoine-Louis Barye, in 1899, he devoted much of his energy to working in clay, fauvism as a style began around 1900 and continued beyond 1910
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Pierre-Auguste Renoir
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Pierre-Auguste Renoir, commonly known as Auguste Renoir, was a French artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty and especially feminine sensuality, it has said that Renoir is the final representative of a tradition which runs directly from Rubens to Watteau. He was the father of actor Pierre Renoir, filmmaker Jean Renoir and he was the grandfather of the filmmaker Claude Renoir, son of Pierre. Pierre-Auguste Renoir was born in Limoges, Haute-Vienne, France, in 1841 and his father, Léonard Renoir, was a tailor of modest means, so in 1844, Renoirs family moved to Paris in search of more favorable prospects. The location of their home, in rue d’Argenteuil in central Paris, although the young Renoir had a natural proclivity for drawing, he exhibited a greater talent for singing. His talent was encouraged by his teacher, Charles Gounod, who was the choir-master at the Church of St Roch at the time. However, due to the financial circumstances, Renoir had to discontinue his music lessons. Although Renoir displayed a talent for his work, he tired of the subject matter. The owner of the factory recognized his apprentice’s talent and communicated this to Renoir’s family, following this, Renoir started taking lessons to prepare for entry into Ecole des Beaux Arts. When the porcelain factory adopted mechanical reproduction processes in 1858, Renoir was forced to other means to support his learning. Before he enrolled in art school, he also painted hangings for overseas missionaries, in 1862, he began studying art under Charles Gleyre in Paris. There he met Alfred Sisley, Frédéric Bazille, and Claude Monet, at times, during the 1860s, he did not have enough money to buy paint. Renoir had his first success at the Salon of 1868 with his painting Lise with a Parasol, although Renoir first started exhibiting paintings at the Paris Salon in 1864, recognition was slow in coming, partly as a result of the turmoil of the Franco-Prussian War. This loss of a favorite painting location resulted in a change of subjects. Renoir was inspired by the style and subject matter of modern painters Camille Pissarro. Although the critical response to the exhibition was largely unfavorable, Renoirs work was well received. That same year, two of his works were shown with Durand-Ruel in London, hoping to secure a livelihood by attracting portrait commissions, Renoir displayed mostly portraits at the second Impressionist exhibition in 1876. He contributed a diverse range of paintings the next year when the group presented its third exhibition, they included Dance at Le Moulin de la Galette
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Paul Gauguin
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Eugène Henri Paul Gauguin was a French post-Impressionist artist. Underappreciated until after his death, Gauguin is now recognized for his use of color. His work was influential to the French avant-garde and many artists, such as Pablo Picasso. Many of his paintings were in the possession of Russian collector Sergei Shchukin and he was an important figure in the Symbolist movement as a painter, sculptor, printmaker, ceramist, and writer. He was also a proponent of wood engraving and woodcuts as art forms. Gauguin was born in Paris, France to Clovis Gauguin and Alina Maria Chazal on June 7,1848 and his birth coincided with revolutionary upheavals throughout Europe that year. His father, a 34-year-old liberal journalist, came from a family of petit-bourgeoisie entrepreneurs residing in Orléans and he was compelled to flee France when the newspaper for which he wrote was suppressed by French authorities. Gauguins mother, the 22-year-old Aline Marie Chazal, was the daughter of Andre Chazal, an engraver, and Flora Tristan and their union ended when Andre assaulted his wife Flora and was sentenced to prison for attempted murder. Paul Gauguins maternal grandmother, Flora Tristan, was the daughter of Thérèse Laisnay. Details of Thérèses family background are not known, her father, Don Mariano, was a Spanish nobleman, members of the wealthy Tristan Moscoso family held powerful positions in Peru. Nonetheless, Don Marianos unexpected death plunged his mistress and daughter Flora into poverty, when Floras marriage with Andre failed, she petitioned for and obtained a small monetary settlement from her fathers Peruvian relatives. She sailed to Peru in hopes of enlarging her share of the Tristan Moscoso family fortune and this never materialized, but she successfully published a popular travelogue of her experiences in Peru which launched her literary career in 1838. An active supporter of early socialist societies, Gauguins maternal grandmother helped to lay the foundations for the 1848 revolutionary movements, placed under surveillance by French police and suffering from overwork, she died in 1844. Her grandson Paul idolized his grandmother, and kept copies of her books with him to the end of his life. In 1850, Clovis Gauguin departed for Peru with his wife Alina and he died of a heart attack en route, and Alina arrived in Peru a widow with the 18-month-old Paul and his 2 ½ year-old sister, Marie. Gauguins mother was welcomed by her granduncle, whose son-in-law would shortly assume the presidency of Peru. To the age of six, Paul enjoyed an upbringing, attended by nursemaids. He retained a vivid memory of period of his childhood which instilled indelible impressions of Peru that haunted him the rest of his life
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Frederic Edwin Church
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Frederic Edwin Church was an American landscape painter born in Hartford, Connecticut. Churchs paintings put an emphasis on light and a respect for natural detail. In his later years, Church painted classical Mediterranean and Middle Eastern scenes and cityscapes, Church was the son of Eliza and Joseph Church. The familys wealth came from Churchs father, a silversmith and watchmaker in Hartford, Joseph, in turn, was the son of Samuel Church, who founded the first paper mill in Lee, Massachusetts in the Berkshires. Joseph later became an official and a director of The Aetna Life Insurance Company, the familys wealth allowed Frederic Church to pursue his interest in art from a very early age. At eighteen years of age, Church became the pupil of Thomas Cole in Catskill, New York after Daniel Wadsworth, in May 1849, Church was elected as the youngest Associate of the National Academy of Design and was promoted to Academician the following year. Soon after, he sold his first major work to Hartfords Wadsworth Athenaeum, Church was the product of the second generation of the Hudson River School and the pupil of Thomas Cole, the school’s founder. The Hudson River School was established by the British Thomas Cole when he moved to America and started painting landscapes, mostly of mountains, both Cole and Church were devout Protestants and the latters beliefs played a role in his paintings especially his early canvases. Cole, along with his friend Asher Durand, started school in New York. The paintings were characterized by their focus on traditional American pastoral settings, especially the Catskill Mountains and this style attempted to capture the wild realism of an unsettled America that was quickly disappearing, and the feelings of discovery and appreciation for natural beauty. His American frontier landscapes show the expansionist and optimistic outlook of the United States in the mid-nineteenth century, Church did differ from Cole in the topics of his paintings, he preferred natural and often majestic scenes over Coles propensity towards allegory. Church, like most second generation Hudson River School painters, used extraordinary detail, romanticism, romanticism was prominent in Britain and France in the early 1800s as a counter-movement to the Enlightenment virtues of order and logic. Artists of the Romantic period often depicted nature in idealized scenes that depicted the richness and beauty of nature and this tradition carries on in the works of Frederic Church, who idealizes an uninterrupted nature, highlighted by creating excruciatingly detailed art. The technical skill comes in the form of luminism, a Hudson River School innovation particularly present in Churchs works, luminism is also cited as encompassing several technical aspects, which can be seen in Church’s works. One example is the attempt to “hide brushstrokes, ” which makes the scene more realistic. Most importantly is the emphasis on light in these scenes, the several sources of light create contrast in the pictures that highlights the beauty and detailed imagery in the painting. Church began his career by painting classic Hudson River School scenes of New York and New England, Church’s method consisted of creating paintings in his studio based on sketches created of views in the summer months. In these earlier years of his career, Church’s style was reminiscent of that of his teacher, Thomas Cole, Church’s work was immediately divergent from Cole’s focus on ethereal, almost mythological, scenes, but his early work did resemble Cole’s tone
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Thomas Cole
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Thomas Cole was an English-born American artist known for his landscape and history paintings. He is regarded as the founder of the Hudson River School, Coles work is known for its romantic portrayal of the American wilderness. Born in Bolton le Moors, Lancashire, in 1801, Coles family emigrated to the United States in 1818, settling in Steubenville, at the age of twenty-two Cole moved to Philadelphia, and later, in 1825, to New York City with his family. Cole found work early on as an engraver and he was largely self-taught as a painter, relying on books and by studying the work of other artists. In 1822 Cole started working as a painter, and later on gradually shifted his focus to landscape. This garnered Cole the attention of John Trumbull, Asher B, among the paintings was a landscape called View of Fort Ticonderoga from Gelyna. Cole was primarily a painter of landscapes, but he also painted allegorical works, there are two versions of the latter, one at the National Gallery in Washington, D. C. the other at the Munson-Williams-Proctor Arts Institute in Utica, New York. Among Coles other famous works are the Oxbow, the Notch of the White Mountains, Daniel Boone at his cabin at the Great Osage Lake and he also painted The Garden of Eden, with lavish detail of Adam and Eve living amid waterfalls, vivid plants, and deer. In 2014, friezes painted by Cole on the walls of his home, Cole influenced his artistic peers, especially Asher B. Durand and Frederic Edwin Church, who studied with Cole from 1844 to 1846, Cole spent the years 1829 to 1832 and 1841 to 1842 abroad, mainly in England and Italy. Thomas Cole is best known for his work as an American landscape artist, however, he also produced thousands of sketches of varying subject matter. Over 2,500 of these sketches can be seen at The Detroit Institute of Arts, in 1842, Cole embarked on a Grand Tour of Europe in an effort to study in the style of the Old Masters and to paint its scenery. Most striking to Cole was Europes tallest active volcano, Mount Etna, Cole was so moved by the volcanos beauty that he produced several sketches and at least six paintings of it. The most famous of these works is A View from Mount Etna from Taormina which is a 78-by-120-inch oil on canvas. Cole also produced a detailed sketch View of Mount Etna which shows a panoramic view of the volcano with the crumbling walls of the ancient Greek theatre of Taormina on the far right. After 1827 Cole maintained a studio at the farm called Cedar Grove in the town of Catskill and he painted a significant portion of his work in this studio. In 1836 he married Maria Bartow of Catskill, a niece of the owner, Thomas Cole had a sister, Sarah, who was also a landscape painter. Additionally, Thomas Cole held many friendships with important figures in the art world including Daniel Wadsworth, with whom he shared a close friendship, proof of this friendship can be seen in the letters that were unearthed in the 1980s by the Trinity College, Watkinson Library
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Jean-Baptiste-Camille Corot
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Jean-Baptiste-Camille Corot was a French landscape and portrait painter as well as a printmaker in etching. He is a figure in landscape painting and his vast output simultaneously references the Neo-Classical tradition. Jean-Baptiste-Camille Corot was born in Paris on July 16,1796, in a house at 125 Rue du Bac, now demolished. After his parents married, they bought the shop where his mother had worked. The store was a destination for fashionable Parisians and earned the family an excellent income. Corot was the second of three born to the family, who lived above their shop during those years. Corot received a scholarship to study at the Lycée Pierre-Corneille in Rouen and he was not a brilliant student, and throughout his entire school career he did not get a single nomination for a prize, not even for the drawing classes. Unlike many masters who demonstrated early talent and inclinations toward art, during those years he lived with the Sennegon family, whose patriarch was a friend of Corots father and who spent much time with young Corot on nature walks. It was in this region that Corot made his first paintings after nature, at nineteen, Corot was a big child, shy and awkward. Before the beautiful ladies who frequented his mothers salon, he was embarrassed and fled like a wild thing, emotionally, he was an affectionate and well-behaved son, who adored his mother and trembled when his father spoke. When Corots parents moved into a new residence in 1817, the 21-year-old Corot moved into the room on the third floor. Later Corot stated, I told my father that business and I were simply incompatible, the business experience proved beneficial, however, by helping him develop an aesthetic sense through his exposure to the colors and textures of the fabrics. Perhaps out of boredom, he turned to oil painting around 1821 and he immediately rented a studio on quai Voltaire. In both approaches, landscape artists would typically begin with outdoor sketching and preliminary painting, with finishing work done indoors, michallon had a great influence on Corots career. Though this school was on the decline, it held sway in the Salon. Corot later stated, I made my first landscape from nature. under the eye of this painter, the lesson worked, since then I have always treasured precision. Though holding Neoclassicists in the highest regard, Corot did not limit his training to their tradition of allegory set in imagined nature and his notebooks reveal precise renderings of tree trunks, rocks, and plants which show the influence of Northern realism. Throughout his career, Corot demonstrated an inclination to apply both traditions in his work, sometimes combining the two, a condition by his parents before leaving was that he paint a self-portrait for them, his first
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Thomas Eakins
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Thomas Cowperthwait Eakins was an American realist painter, photographer, sculptor, and fine arts educator. He is widely acknowledged to be one of the most important artists in American art history and he painted several hundred portraits, usually of friends, family members, or prominent people in the arts, sciences, medicine, and clergy. Taken en masse, the offer an overview of the intellectual life of Philadelphia in the late 19th and early 20th centuries, individually. These active outdoor venues allowed him to paint the subject which most inspired him, in the process he could model the forms of the body in full sunlight, and create images of deep space utilizing his studies in perspective. Eakins also took a keen interest in the new technologies of motion photography, No less important in Eakins life was his work as a teacher. As an instructor he was an influential presence in American art. Eakins was a figure whose work received little by way of official recognition during his lifetime. Since his death, he has been celebrated by American art historians as the strongest, most profound realist in nineteenth-, Eakins was born and lived most of his life in Philadelphia. He was the first child of Caroline Cowperthwait Eakins, a woman of English and Dutch descent, and Benjamin Eakins, Benjamin Eakins grew up on a farm in Valley Forge, Pennsylvania, the son of a weaver. He was successful in his profession, and moved to Philadelphia in the early 1840s to raise his family. Thomas Eakins observed his father at work and by twelve demonstrated skill in precise line drawing, perspective, and he was an athletic child who enjoyed rowing, ice skating, swimming, wrestling, sailing, and gymnastics—activities he later painted and encouraged in his students. Eakins attended Central High School, the public school for applied science and arts in the city. He studied drawing and anatomy at the Pennsylvania Academy of the Fine Arts beginning in 1861, for a while, he followed his fathers profession and was listed in city directories as a writing teacher. His scientific interest in the body led him to consider becoming a surgeon. Eakins then studied art in Europe from 1866 to 1870, notably in Paris with Jean-Léon Gérôme, being only the second American pupil of the French realist painter, famous as a master of Orientalism. He also attended the atelier of Léon Bonnat, a realist painter who emphasized anatomical preciseness, a method adapted by Eakins. A letter home to his father in 1868 made his aesthetic clear, She is the most beautiful thing there is in the world except a naked man, already at age 24, nudity and verity were linked with an unusual closeness in his mind. Yet his desire for truthfulness was more expansive, and the home to Philadelphia reveal a passion for realism that included, but was not limited to
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Claude Monet
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Monets ambition of documenting the French countryside led him to adopt a method of painting the same scene many times in order to capture the changing of light and the passing of the seasons. From 1883 Monet lived in Giverny, where he purchased a house and property, Claude Monet was born on 14 November 1840 on the fifth floor of 45 rue Laffitte, in the 9th arrondissement of Paris. He was the son of Claude Adolphe Monet and Louise Justine Aubrée Monet. On 20 May 1841, he was baptized in the parish church, Notre-Dame-de-Lorette, as Oscar-Claude. Despite being baptized Catholic, Monet later became an atheist, in 1845, his family moved to Le Havre in Normandy. His father wanted him to go into the familys ship-chandling and grocery business and his mother was a singer, and supported Monets desire for a career in art. On 1 April 1851, Monet entered Le Havre secondary school of the arts, locals knew him well for his charcoal caricatures, which he would sell for ten to twenty francs. Monet also undertook his first drawing lessons from Jacques-François Ochard, a student of Jacques-Louis David. On the beaches of Normandy around 1856 he met fellow artist Eugène Boudin, Boudin taught Monet en plein air techniques for painting. Both received the influence of Johan Barthold Jongkind, on 28 January 1857, his mother died. At the age of sixteen, he left school and went to live with his widowed, childless aunt, when Monet traveled to Paris to visit the Louvre, he witnessed painters copying from the old masters. Having brought his paints and other tools with him, he would go and sit by a window. Monet was in Paris for several years and met other painters, including Édouard Manet and others who would become friends. After drawing a low number in March 1861, Monet was drafted into the First Regiment of African Light Cavalry in Algeria for a seven-year period of military service. His prosperous father could have purchased Monets exemption from conscription but declined to do so when his son refused to give up painting. While in Algeria Monet did only a few sketches of scenes, a single landscape. In a Le Temps interview of 1900 however he commented that the light, after about a year of garrison duty in Algiers, Monet contracted typhoid fever and briefly went absent without leave. Following convalescence, Monets aunt intervened to get him out of the army if he agreed to complete a course at an art school and it is possible that the Dutch painter Johan Barthold Jongkind, whom Monet knew, may have prompted his aunt on this matter
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