1.
De Stijl (album)
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De Stijl /də ˈsteɪl/ is the second studio album by the American garage rock band The White Stripes, released on June 20,2000 on Sympathy for the Record Industry. The album reached number thirty-eight on Billboards Independent Albums chart in 2002 and it has since become a cult favorite among White Stripes fans, due to the simplicity of the bands blues/punk fusion. De Stijl was a Dutch art movement, vocalist Jack White had been an admirer of the style for some time, especially of furniture designer Gerrit Rietveld. Rietveld designed the Rietveld Schröder House, which Jack and Meg White visited while on tour in the Netherlands, De Stijl was dedicated to both Rietveld and Blind Willie McTell. It was after the tour began for De Stijl that Jack finally closed his upholstery shop and she demanded $70,000 in damages and the removal of the album from store shelves. The dispute was settled out of court, the re-issued vinyl LP version of the record was pressed at United Record Pressing in Nashville, Tennessee and mastered all-analog from the original master tapes. The song Apple Blossom was used in Quentin Tarantinos film The Hateful Eight, all songs written by Jack White except where noted
2.
Red and Blue Chair
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The Red and Blue Chair is a chair designed in 1917 by Gerrit Rietveld. It represents one of the first explorations by the De Stijl art movement in three dimensions, the original chair was constructed of unstained beech wood and was not painted until the early 1920s. Fellow member of De Stijl and architect, Bart van der Leck, saw his original model and he built the new model of thinner wood and painted it entirely black with areas of primary colors attributed to De Stijl movement. The effect of color scheme made the chair seem to almost disappear against the black walls. The areas of color appeared to float, giving it an almost transparent structure, the Museum of Modern Art, which houses the chair in its permanent collection, a gift from Philip Johnson, states that the red, blue, and yellow colors were added around 1923. The chair also resides at the High Museum of Art, Atlanta, the Red and Blue Chair was reported to be on loan to the Delft University of Technology Faculty of Architecture as part of an exhibition. On May 13,2008, a fire destroyed the entire building, as of 2012, it resides in the Minneapolis Institute of Arts in Minneapolis, Minnesota. As of 2013, it has moved to Auckland, New Zealand
3.
Gerrit Rietveld
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Gerrit Thomas Rietveld was a Dutch furniture designer and architect. One of the members of the Dutch artistic movement called De Stijl, Rietveld is famous for his Red and Blue Chair and for the Rietveld Schröder House. Rietveld was born in Utrecht in 1888 as the son of a joiner and he left school at 11 to be apprenticed to his father and enrolled at night school before working as a draughtsman for C. J. Begeer, a jeweller in Utrecht, from 1906 to 1911. By the time he opened his own workshop in 1917. He afterwards set up in business as a cabinet-maker, Rietveld designed his famous Red and Blue Chair in 1917. Hoping that much of his furniture would eventually be mass-produced rather than handcrafted, the contacts that he made at De Stijl gave him the opportunity to exhibit abroad as well. In 1923, Walter Gropius invited Rietveld to exhibit at the Bauhaus and he built, the Rietveld Schröder House, in 1924, in close collaboration with the owner Truus Schröder-Schräder. The design seems like a realization of a Mondrian painting. The house has been a UNESCO World Heritage Site since 2000 and his involvement in the Schröder House exerted a strong influence on Truus daughter, Han Schröder, who became one of the first female architects in the Netherlands. Rietveld broke with De Stijl in 1928 and became associated with a more functionalist style of architecture, the same year he joined the Congrès Internationaux dArchitecture Moderne. From the late 1920s he was concerned with housing, inexpensive production methods, new materials. In 1927 he was experimenting with prefabricated concrete slabs, a very unusual material at that time. Rietveld designed the Zig-Zag Chair in 1934 and started the design of the Van Gogh Museum in Amsterdam, in 1951 Rietveld designed a retrospective exhibition about De Stijl which was held in Amsterdam, Venice and New York. Interest in his work revived as a result, due to irreparable damages caused by regular decay, it was once again rebuilt, this time with new materials, in 2010. In order to all these projects, in 1961 Rietveld set up a partnership with the architects Johan van Dillen and J. van Tricht built hundreds of homes. His work was neglected when rationalism came into vogue, but he benefited from a revival of the style of the 1920s thirty years later. Gerrit Rietvelds son Wim Rietveld also became an industrial designer. Rietveld had his first retrospective exhibition devoted to his work at the Centraal Museum, Utrecht
4.
Dutch language
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It is the third most widely spoken Germanic language, after English and German. Dutch is one of the closest relatives of both German and English and is said to be roughly in between them, Dutch vocabulary is mostly Germanic and incorporates more Romance loans than German but far fewer than English. In both Belgium and the Netherlands, the official name for Dutch is Nederlands, and its dialects have their own names, e. g. Hollands, West-Vlaams. The use of the word Vlaams to describe Standard Dutch for the variations prevalent in Flanders and used there, however, is common in the Netherlands, the Dutch language has been known under a variety of names. It derived from the Old Germanic word theudisk, one of the first names used for the non-Romance languages of Western Europe. It literarily means the language of the people, that is. The term was used as opposed to Latin, the language of writing. In the first text in which it is found, dating from 784, later, theudisca appeared also in the Oaths of Strasbourg to refer to the Germanic portion of the oath. This led inevitably to confusion since similar terms referred to different languages, owing to Dutch commercial and colonial rivalry in the 16th and 17th centuries, the English term came to refer exclusively to the Dutch. A notable exception is Pennsylvania Dutch, which is a West Central German variety called Deitsch by its speakers, Jersey Dutch, on the other hand, as spoken until the 1950s in New Jersey, is a Dutch-based creole. In Dutch itself, Diets went out of common use - although Platdiets is still used for the transitional Limburgish-Ripuarian Low Dietsch dialects in northeast Belgium, Nederlands, the official Dutch word for Dutch, did not become firmly established until the 19th century. This designation had been in use as far back as the end of the 15th century, one of them was it reflected a distinction with Hoogduits, High Dutch, meaning the language spoken in Germany. The Hoog was later dropped, and thus, Duits narrowed down in meaning to refer to the German language. g, in English, too, Netherlandic is regarded as a more accurate term for the Dutch language, but is hardly ever used. Old Dutch branched off more or less around the same time Old English, Old High German, Old Frisian and Old Saxon did. During that period, it forced Old Frisian back from the western coast to the north of the Low Countries, on the other hand, Dutch has been replaced in adjacent lands in nowadays France and Germany. The division in Old, Middle and Modern Dutch is mostly conventional, one of the few moments linguists can detect somewhat of a revolution is when the Dutch standard language emerged and quickly established itself. This is assumed to have taken place in approximately the mid-first millennium BCE in the pre-Roman Northern European Iron Age, the Germanic languages are traditionally divided into three groups, East, West, and North Germanic. They remained mutually intelligible throughout the Migration Period, Dutch is part of the West Germanic group, which also includes English, Scots, Frisian, Low German and High German
5.
Art
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In their most general form these activities include the production of works of art, the criticism of art, the study of the history of art, and the aesthetic dissemination of art. The oldest documented forms of art are visual arts, which include creation of images or objects in fields including painting, sculpture, printmaking, photography, and other visual media. Music, theatre, film, dance, and other performing arts, as well as literature, until the 17th century, art referred to any skill or mastery and was not differentiated from crafts or sciences. Art may be characterized in terms of mimesis, expression, communication of emotion, during the Romantic period, art came to be seen as a special faculty of the human mind to be classified with religion and science. Though the definition of what art is disputed and has changed over time, general descriptions mention an idea of imaginative or technical skill stemming from human agency. The nature of art, and related such as creativity. One early sense of the definition of art is related to the older Latin meaning. English words derived from this meaning include artifact, artificial, artifice, medical arts, however, there are many other colloquial uses of the word, all with some relation to its etymology. Several dialogues in Plato tackle questions about art, Socrates says that poetry is inspired by the muses, and is not rational. He speaks approvingly of this, and other forms of divine madness in the Phaedrus, and yet in the Republic wants to outlaw Homers great poetic art, in Ion, Socrates gives no hint of the disapproval of Homer that he expresses in the Republic. For example, music imitates with the media of rhythm and harmony, whereas dance imitates with rhythm alone, the forms also differ in their object of imitation. Comedy, for instance, is an imitation of men worse than average. Lastly, the forms differ in their manner of imitation—through narrative or character, through change or no change, Aristotle believed that imitation is natural to mankind and constitutes one of mankinds advantages over animals. The second, and more recent, sense of the art as an abbreviation for creative art or fine art emerged in the early 17th century. The creative arts are a collection of disciplines which produce artworks that are compelled by a drive and convey a message, mood. Art is something that stimulates an individuals thoughts, emotions, beliefs, works of art can be explicitly made for this purpose or interpreted on the basis of images or objects. Often, if the skill is being used in a common or practical way, likewise, if the skill is being used in a commercial or industrial way, it may be considered commercial art instead of fine art. On the other hand, crafts and design are considered applied art
6.
Netherlands
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The Netherlands is the main constituent country of the Kingdom of the Netherlands. It is a densely populated country located in Western Europe with three territories in the Caribbean. The European part of the Netherlands borders Germany to the east, Belgium to the south, and the North Sea to the northwest, sharing borders with Belgium, the United Kingdom. The three largest cities in the Netherlands are Amsterdam, Rotterdam and The Hague, Amsterdam is the countrys capital, while The Hague holds the Dutch seat of parliament and government. The port of Rotterdam is the worlds largest port outside East-Asia, the name Holland is used informally to refer to the whole of the country of the Netherlands. Netherlands literally means lower countries, influenced by its low land and flat geography, most of the areas below sea level are artificial. Since the late 16th century, large areas have been reclaimed from the sea and lakes, with a population density of 412 people per km2 –507 if water is excluded – the Netherlands is classified as a very densely populated country. Only Bangladesh, South Korea, and Taiwan have both a population and higher population density. Nevertheless, the Netherlands is the worlds second-largest exporter of food and agricultural products and this is partly due to the fertility of the soil and the mild climate. In 2001, it became the worlds first country to legalise same-sex marriage, the Netherlands is a founding member of the EU, Eurozone, G-10, NATO, OECD and WTO, as well as being a part of the Schengen Area and the trilateral Benelux Union. The first four are situated in The Hague, as is the EUs criminal intelligence agency Europol and this has led to the city being dubbed the worlds legal capital. The country also ranks second highest in the worlds 2016 Press Freedom Index, the Netherlands has a market-based mixed economy, ranking 17th of 177 countries according to the Index of Economic Freedom. It had the thirteenth-highest per capita income in the world in 2013 according to the International Monetary Fund, in 2013, the United Nations World Happiness Report ranked the Netherlands as the seventh-happiest country in the world, reflecting its high quality of life. The Netherlands also ranks joint second highest in the Inequality-adjusted Human Development Index, the region called Low Countries and the country of the Netherlands have the same toponymy. Place names with Neder, Nieder, Nether and Nedre and Bas or Inferior are in use in all over Europe. They are sometimes used in a relation to a higher ground that consecutively is indicated as Upper, Boven, Oben. In the case of the Low Countries / the Netherlands the geographical location of the region has been more or less downstream. The geographical location of the region, however, changed over time tremendously
7.
Abstract art
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Abstract art uses a visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world. Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective, the arts of cultures other than the European had become accessible and showed alternative ways of describing visual experience to the artist. By the end of the 19th century many artists felt a need to create a new kind of art which would encompass the fundamental changes taking place in technology, science and philosophy. The sources from which individual artists drew their theoretical arguments were diverse, Abstract art, non-figurative art, non-objective art, and nonrepresentational art are loosely related terms. They are similar, but perhaps not of identical meaning, Abstraction indicates a departure from reality in depiction of imagery in art. This departure from accurate representation can be slight, partial, or complete, even art that aims for verisimilitude of the highest degree can be said to be abstract, at least theoretically, since perfect representation is likely to be exceedingly elusive. Artwork which takes liberties, altering for instance color and form in ways that are conspicuous, total abstraction bears no trace of any reference to anything recognizable. In geometric abstraction, for instance, one is unlikely to find references to naturalistic entities, Figurative art and total abstraction are almost mutually exclusive. But figurative and representational art often contains partial abstraction, both geometric abstraction and lyrical abstraction are often totally abstract. It is at level of visual meaning that abstract art communicates. One can enjoy the beauty of Chinese calligraphy or Islamic calligraphy without being able to read it, in Chinese painting, abstraction can be traced to the Tang dynasty painter Wang Mo, who is credited to have invented the splashed-ink painting style. While none of his paintings remain, this style is seen in some Song Dynasty Paintings. A late Song painter named Yu Jian, adept to Tiantai buddhism and his paintings show heavily misty mountains in which the shapes of the objects are barely visible and extremely simplified. This type of painting was continued by Sesshu Toyo in his later years, another instance of abstraction in Chinese painting is seen in Zhu Deruns Cosmic Circle. The painting is a reflection of the Daoist metaphysics in which chaos, in Tokugawa Japan some zen monk-painters created Enso, a circle who represents the absolute enlightenment. Usually made in one spontaneous brush stroke, it became the paradigm of the minimalist aesthetic that guided part of the zen painting, three art movements which contributed to the development of abstract art were Romanticism, Impressionism and Expressionism. Artistic independence for artists was advanced during the 19th century, patronage from the church diminished and private patronage from the public became more capable of providing a livelihood for artists. Expressionist painters explored the use of paint surface, drawing distortions and exaggerations
8.
Colour
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Color or colour is the characteristic of human visual perception described through color categories, with names such as red, yellow, purple, or blue. This perception of color derives from the stimulation of cells in the human eye by electromagnetic radiation in the spectrum of light. Color categories and physical specifications of color are associated with objects through the wavelength of the light that is reflected from them and this reflection is governed by the objects physical properties such as light absorption, emission spectra, etc. By defining a color space, colors can be identified numerically by coordinates, there may also be more than three color dimensions in other color spaces, such as in the CMYK color model, wherein one of the dimensions relates to a colours colorfulness). The photo-receptivity of the eyes of species also varies considerably from our own. Honeybees and bumblebees for instance have trichromatic color vision sensitive to ultraviolet but is insensitive to red, papilio butterflies possess six types of photoreceptors and may have pentachromatic vision. The most complex color vision system in the kingdom has been found in stomatopods with up to 12 spectral receptor types thought to work as multiple dichromatic units. The science of color is sometimes called chromatics, colorimetry, or simply color science and it includes the perception of color by the human eye and brain, the origin of color in materials, color theory in art, and the physics of electromagnetic radiation in the visible range. Electromagnetic radiation is characterized by its wavelength and its intensity, when the wavelength is within the visible spectrum, it is known as visible light. Most light sources emit light at different wavelengths, a sources spectrum is a distribution giving its intensity at each wavelength. Although the spectrum of light arriving at the eye from a given direction determines the color sensation in that direction, in each such class the members are called metamers of the color in question. The table at right shows approximate frequencies and wavelengths for various pure spectral colors, the wavelengths listed are as measured in air or vacuum. A common list identifies six main bands, red, orange, yellow, green, blue, Newtons conception included a seventh color, indigo, between blue and violet. It is possible that what Newton referred to as blue is nearer to what today is known as cyan, the color of an object depends on both the physics of the object in its environment and the characteristics of the perceiving eye and brain. Some objects not only light, but also transmit light or emit light themselves. This effect is known as color constancy, opaque objects that do not reflect specularly have their color determined by which wavelengths of light they scatter strongly. If objects scatter all wavelengths with roughly equal strength, they appear white, if they absorb all wavelengths, they appear black. Opaque objects that reflect light of different wavelengths with different efficiencies look like mirrors tinted with colors determined by those differences
9.
Black
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Black is the darkest color resulting from the absence or complete absorption of light. Like white and grey, it is a color, literally a color without hue. It is one of the four colors in the CMYK color model, along with cyan, yellow. Black is often used to represent darkness, it is the symbolic opposite of white, Black was one of the first colors used by artists in neolithic cave paintings. In the 14th century, it began to be worn by royalty and it became the color worn by English romantic poets, businessmen and statesmen in the 19th century, and a high fashion color in the 20th century. In the Roman Empire, it became the color of mourning, according to surveys in Europe and North America, it is the color most commonly associated with mourning, the end, secrets, magic, force, violence, evil, and elegance. More distant cognates include Latin flagrare, and Ancient Greek phlegein, the Ancient Greeks sometimes used the same word to name different colors, if they had the same intensity. Kuanos could mean both dark blue and black, the Ancient Romans had two words for black, ater was a flat, dull black, while niger was a brilliant, saturated black. Ater has vanished from the vocabulary, but niger was the source of the country name Nigeria the English word Negro, old High German also had two words for black, swartz for dull black and blach for a luminous black. These are parallelled in Middle English by the terms swart for dull black, swart still survives as the word swarthy, while blaek became the modern English black. In heraldry, the used for the black color is sable, named for the black fur of the sable. Black was one of the first colors used in art, the Lascaux Cave in France contains drawings of bulls and other animals drawn by paleolithic artists between 18,000 and 17,000 years ago. They began by using charcoal, and then made more vivid black pigments by burning bones or grinding a powder of manganese oxide, for the ancient Egyptians, black had positive associations, being the color of fertility and the rich black soil flooded by the Nile. It was the color of Anubis, the god of the underworld, who took the form of a black jackal, and offered protection against evil to the dead. For the ancient Greeks, black was also the color of the underworld, separated from the world of the living by the river Acheron and those who had committed the worst sins were sent to Tartarus, the deepest and darkest level. In the center was the palace of Hades, the king of the underworld, Black was one of the most important colors used by ancient Greek artists. In the 6th century BC, they began making pottery and later red figure pottery. In black-figure pottery, the artist would paint figures with a clay slip on a red clay pot
10.
White
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White is an achromatic color, a color without hue. An incoming light to the eye that stimulates all its three types of color sensitive cone cells in nearly equal amounts results in white. White is one of the most common colors in nature, the color of sunlight, snow, milk, chalk, limestone, in many cultures white represents or signifies purity, innocence, and light, and is the symbolic opposite of black, or darkness. According to surveys in Europe and the United States, white is the color most often associated with perfection, the good, honesty, cleanliness, the beginning, the new, neutrality, and exactitude. In ancient Egypt and ancient Rome, priestesses wore white as a symbol of purity, in the Middle Ages and Renaissance a white unicorn symbolized chastity, and a white lamb sacrifice and purity, the widows of kings dressed in white rather than black as the color of mourning. It was also used in 20th century modern architecture as a symbol of modernity, simplicity. White is an important color for almost all world religions, the Pope, the head of the Roman Catholic Church, has worn white since 1566, as a symbol of purity and sacrifice. In Islam, and in the Shinto religion of Japan, it is worn by pilgrims, in Western cultures and in Japan, white is the most common color for wedding dresses, symbolizing purity and virginity. In many Asian cultures, white is also the color of mourning, the white color on television screens and computer monitors is created with the RGB color model by mixing red, green and blue light at equal intensities. The word white continues Old English hwīt, ultimately from a Common Germanic *χwītaz also reflected in OHG wîz, ON hvítr, the root is ultimately from Proto-Indo-European language *kwid-, surviving also in Sanskrit śveta to be white or bright and Slavonic světŭ light. The Icelandic word for white, hvítur, is derived from the Old Norse form of the word hvítr. Common Germanic also had the word *blankaz, borrowed into Late Latin as *blancus, the antonym of white is black. Some non-European languages have a variety of terms for white. The Inuit language has seven different words for seven different nuances of white, Japanese has six different words, depending upon brilliance or dullness, or if the color is inert or dynamic. White was one of the first colors used in art, the Lascaux Cave in France contains drawings of bulls and other animals drawn by paleolithic artists between 18,000 and 17,000 years ago. Paleolithic artists used calcite or chalk, they sometimes as a background, sometimes as a highlight, along with charcoal and red, in ancient Egypt, white was connected with the goddess Isis. The priests and priestesses of Isis dressed only in white linen, in Greece and other ancient civilizations, white was often associated with mothers milk. In Greek mythology, the chief god Zeus was nourished at the breast of the nymph Amalthea, in the Talmud, milk was one of four sacred substances, along with wine, honey, and the rose
11.
Primary color
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A set of primary colors is a small, arbitrary set of pigmented physical media, lights or purely abstract elements of a mathematical colorspace model. Distinct colors from a larger gamut can be specified in terms of a mixture of colors which facilitates technological applications such as painting, electronic displays. Any small set of pigments or lights are imperfect physical primary colors in that they cannot be mixed to yield all possible colors that can be perceived by the color vision system. In an additive set of colors, as in coincident projected lights or in electronic visual displays, in a subtractive set of colors, as in mixing of pigments or dyes for printing, the colors magenta, yellow and cyan are normally used. See RGB color model, and CMYK color model for more on these sets of primary colors. Primary colors are not a property of light but are related to the color vision system in animals. The human eye normally contains three types of color photoreceptors that are associated with specialized cone cells. Each photoreceptor responds to different ranges of the electromagnetic spectrum. Humans and other species with three types of color photoreceptor are known as trichromats. Color appearance models like CIECAM02 describe color more generally in six dimensions, most placental mammals other than primates have only two types of color photoreceptor and are therefore dichromats while birds and marsupials are tetrachromats with four color photoreceptor types. There is no peer reviewed scholarly work that has confirmed the existence of a functional human tetrachromat though they are suspected to exist. Demonstrating improved spectral discrimination in any animal can be difficult since complex sets of neurons affect color perception in ways that are difficult to interrogate. Before the nature of colorimetry and visual physiology were well understood a number of color models assigned primary colors to different hues. Young originally proposed red, green and violet, and Maxwell changed violet to blue, Helmholtz proposed a slightly red, a vegetation-green, slightly yellowish. In modern understanding, human cells do not correspond precisely to a specific set of primary colors. There are hundreds of available pigments for visual artists to use. A common approach is to use just a palette of pigments that can be physically mixed to any color that the artist desires in the final work. Contemporary classical realists have often advocated that a palette of white, red, yellow
12.
Theo van Doesburg
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Theo van Doesburg was a Dutch artist, who practiced painting, writing, poetry and architecture. He is best known as the founder and leader of De Stijl, Theo van Doesburg was born Christian Emil Marie Küpper on August 30,1883, in Utrecht, the Netherlands, as the son of the photographer Wilhelm Küpper and Henrietta Catherina Margadant. After a short training in acting and singing he decided to become a painter and he always regarded his stepfather, Theodorus Doesburg, to be his natural father, so that his first works are signed with Theo Doesburg, to which he later added the insertion van. His first exhibition was in 1908, from 1912 onwards, he supported his works by writing for magazines. This suddenly changed in 1913 after reading Wassily Kandinskys Rückblicke, in which he looks back at his life as a painter from 1903–1913. It made him realize there was a higher, more level in painting that originates from the mind rather than from everyday life. It was already in 1912 that Van Doesburg was criticizing Futurism in an art article in Eenheid no. 127, on November 9,1912, because The mimetic expression of velocity is diametrically opposed to the character of painting, on November 6,1915, he wrote in the same journal, Mondrian realizes the importance of line. The line has almost become a work of art in itself, the white canvas is almost solemn. Each superfluous line, each wrongly placed line, any color placed without veneration or care, can spoil everything—that is, Van Doesburg saw in these paintings his ideal in painting, a complete abstraction of reality. Soon after the exposition Van Doesburg got in contact with Mondrian, and together with related artists Bart van der Leck, Anthony Kok, Vilmos Huszar, oud they founded the magazine De Stijl in 1917. Although De Stijl was made up of members, Van Doesburg was the ambassador of the movement. He moved to Weimar in 1922, deciding to make an impression on the Bauhaus principal, Walter Gropius, while Gropius accepted many of the precepts of contemporary art movements he did not feel that Doesburg should become a Bauhaus master. Doesburg then installed himself near to the Bauhaus buildings and started to attract students interested in the new ideas of Constructivism. The friendship between Van Doesburg and Mondrian remained strong in these years, although their way of communication was by letter. In 1923 Van Doesburg moved to Paris together with his later wife Nelly van Moorsel, because the two men got to see each other on a much more regular basis the differences in character became apparent, Mondrian was an introvert, while van Doesburg was more flamboyant and extravagant. During 1924 the two men had disagreements, which led to a split in the same year. Mondrian accepted some concepts of diagonals, such as in his Lozenge paintings, in recent years, however, this theory gained critique from art historians such as Carel Blotkamp, who cites their different concepts about space and time as the main reason for the split
13.
Piet Mondrian
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Pieter Cornelis Piet Mondriaan, after 1906 Mondrian, was a Dutch painter. Mondrian was a contributor to the De Stijl art movement and group and he evolved a non-representational form which he termed neoplasticism. This consisted of ground, upon which he painted a grid of vertical and horizontal black lines. Mondrians arrival in Paris from the Netherlands in 1911 marked the beginning of a period of profound change and he encountered experiments in Cubism and with the intent of integrating himself within the Parisian avant-garde removed an a from the Dutch spelling of his name. Mondrian was born in Amersfoort in the Netherlands, the second of his parents children and he was descended from Christian Dirkzoon Monderyan who lived in The Hague as early as 1670. The family moved to Winterswijk in the east of the country when his father, Pieter Cornelius Mondriaan, was appointed Head Teacher at a primary school. Mondrian was introduced to art from a early age. His father was a drawing teacher, and, with his uncle, Fritz Mondriaan. After a strictly Protestant upbringing, in 1892, Mondrian entered the Academy for Fine Art in Amsterdam and he already was qualified as a teacher. He began his career as a teacher in primary education, most of his work from this period is naturalistic or Impressionistic, consisting largely of landscapes. These paintings are most definitely representational, and they illustrate the influence that various artistic movements had on Mondrian, including pointillism, on display in the Gemeentemuseum Den Haag are a number of paintings from this period, including such Post-Impressionist works as The Red Mill and Trees in Moonrise. Another painting, Evening, depicting a tree in a field at dusk, even augurs future developments by using a palette consisting almost entirely of red, yellow, although Avond is only limitedly abstract, it is the earliest Mondrian painting to emphasize primary colors. Mondrians earliest paintings showing a degree of abstraction are a series of canvases from 1905 to 1908 that depict dim scenes of trees and houses reflected in still water. Mondrians art was related to his spiritual and philosophical studies. In 1908, he interested in the theosophical movement launched by Helena Petrovna Blavatsky in the late 19th century. The work of Blavatsky and a spiritual movement, Rudolf Steiners Anthroposophy. In 1918, he wrote I got everything from the Secret Doctrine, in 1921, in a letter to Steiner, Mondrian argued that his neoplasticism was the art of the foreseeable future for all true Anthroposophists and Theosophists. He remained a committed Theosophist in subsequent years, although he believed that his own artistic current, neoplasticism, would eventually become part of a larger
14.
Bart van der Leck
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Bart van der Leck was a Dutch painter, designer, and ceramacist. With Theo van Doesburg and Piet Mondrian he founded the De Stijl art movement, son of a house painter, he started his career learning how to make stained glass in a shop in Utrecht. An example of his stained glass work is in the Kröller-Müller Museum in Hoge Veluwe. After having met Mondrian and van Doesburg and having founded the Stijl movement with them, his style became completely abstract, but after disagreements with Mondrian his abstract style became based on representational images. His painting Tryptich is an example, in which he transformed sketches of a mine in Spain into seemingly abstract shapes, in 1919-1920 he created the interior design for St Hubertus Hunting Lodge, in the Hoge Veluwe estate. The hunting lodge was designed by Hendrik Petrus Berlage, in 1930, he was commissioned by Jo de Leeuw, owner of the prestigious Dutch department store Metz & Co. to design interiors, window packaging, branding and advertising. For these print materials van der Leck developed a rectilinear, geometrically constructed alphabet, in 1941, he designed a typeface based on this alphabet for the avant garde magazine Flax. Architype van der Leck, a revival of that face by David Quary. Bart van der Leck claimed to be the father of the avant-garde movement, in his own words he said, Mondrian came to my place one day with Doesburg, whom I had never seen before. When Doesburg noticed an abstract painting right on the easel, he exlaimed, If that is to be the painting of the future, well, a few months later, he was painting in precisely that manner. Thats the sort of person Doesburg was, among the public collections holding works by the artist are, Museum de Fundatie, Zwolle, The Netherlands Kröller-Müller Museum Haley, Allen. Type, Hot Designers Make Cool Fonts, ISBN 1-56496-317-9 Hoek, Els, Marleen Blokhuis, Ingrid Goovaerts, Natalie Kamphuys, et al. Short biography at Codart Longer biography at Instituut voor Nederlandse Geschiedenis Works in the Kroller-Muller Museum, Otterlo
15.
Robert van 't Hoff
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Robert van t Hoff, born Robbert van t Hoff, was a Dutch architect and furniture designer. His Villa Henny, designed in 1914, was one of the earliest modernist houses, from 1917 he was an influential member of the De Stijl movement. Van t Hoff was born in Rotterdam, the son of an eminent bacteriologist and his mother had an interest in the visual arts and was a friend of the painter Willem Witsen, while his father was a friend of the psychiatrist Frederik van Eeden. From 1898 Robert accompanied his parents on visits to van Eedens utopian Walden commune near Bussum, the family moved to Bilthoven in 1904. The following year Robert assisted with the building of a house for one of his aunts, Van t Hoffs first built works were designed while he was still based in England. Van t Hoffs third house, built for the artist Augustus John at 28 Mallord Street, Chelsea, London, in 1913 van t Hoff was given a copy of a German translation of Frank Lloyd Wrights Wasmuth Portfolio by his father. Van t Hoffs first work on returning from the United States was the Villa Verloop – a summer house in Huis ter Heide whose design bore the influence of Wrights Prairie Houses. More remarkable however was his next work – the Villa Henny – which was a highly idealistic, Van t Hoff probably met De Stijl founder Theo van Doesburg some time in mid-1917. Van t Hoff went on to support the journal financially after van Doesburg split from its original publisher over his insistence on installing a separate architecture editor. This was conceived as an attempt to further the new direction and he was involved in every aspect of the interior and exterior design including the furniture, during 1918 and 1919 van t Hoffs ideological stance hardened in the light of the recent Russian Revolution. His design work at this time moved away from private houses, Van t Hoffs attempts to influence the De Stijl group in a more avowedly political direction met with frustration, however. The first De Stijl manifesto, published in November 1918, was interpreted by most of the members as a largely artistic statement. Vant Hoff criticised Van Doesburg in the summer of 1919 for exhibiting individually rather than maintaining a commitment to the De Stijl collective. Although these featured some furniture and interior design work by Beekman and Rietveld, the tenth anniversary issue of De Stijl featured an open letter signed Robert Van. In 1922 van t Hoff moved to London with his family, spending most of the five years promoting his communist and anarchist ideas in England. In 1926 he published an anonymously authored social and political manifesto called Abolition, in 1928 he was invited by the American radical philanthropist Charles Garland to redesign the buildings on his utopian commune in Coopersburg, Pennsylvania. The two disagreed over the designs, however, and within nine months the van t Hoff family had returned to Laren. The ill health of their daughter led the van t Hoffs to move to Davos in Switzerland in 1931, in general, however, his last years in England were marked by increasing reclusiveness
16.
J. J. P. Oud
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Jacobus Johannes Pieter Oud, commonly called J. J. P. Oud was a Dutch architect. His fame began as a follower of the De Stijl movement, Oud was born in Purmerend, the son of a tobacco and wine merchant. As a young architect, he was influenced by Berlage, and he worked together with W. M. Dudok in Leiden, which is where he also met Theo van Doesburg and became involved with the movement De Stijl. Between 1918 and 1933, Oud became Municipal Housing Architect for Rotterdam, during this period when many laborers were coming to the city, he mostly worked on socially progressive residential projects. This included projects in the areas of Spangen, Kiefhoek and the Witte Dorp and his own answer was to practice poetic functionalism. In 1927, he was one of the fifteen architects who contributed to the influential modernist Weissenhof Estate exhibition, in America Oud is perhaps best known for being lauded and adopted by the mainstream modernist movement, then summarily kicked out on stylistic grounds. As of 1932, he was considered one of the four greatest modern architects, johnson maintained a correspondence with Oud, tried to help him get work, commissioned a house for his mother, and sent him socks and bicycle tires. After World War II, Oud designed the Dutch National War Monument in Amsterdam, by then, he had mostly let go of any Stijl influences. He continued to take a highly individualistic stance against mainstream modernism and he designed projects such as the Spaarbank in Rotterdam, office-building De Utrecht in Rotterdam and the Childrens health-centre in Arnhem. Ouds brother, Pieter Oud was mayor of Rotterdam, Oud died in 1963 at the age of 73 in Wassenaar. 1912 Movie theatre, block of housing and small individual houses in Purmerend. 1913 -1914 Small houses in and about Leiden,1915 Project for a municipal bath house, unexecuted. Project for a row of houses, unexcecuted. 1918 Spangen, Blocks I and V, Worker housing in Rotterdam,1919 Spangen, Blocks VIII and IX. Projects for a factory and a bonded Warehouse, unexcecuted,1920 -1921 Tuschendijken, Blocks I to IV and VI in Rotterdam. 1921 Project for a house in Berlin, unexecuted,1922 Garden Village in Rotterdam at Oud-Mathenesse. 1923 Superintendents office at Oud-Mathenesse, temporary,1925 Café de Unie in Rotterdam 1926 Project for Hotel Stiassni in Brno, Czechoslovakia, unexcecuted. Competition project for Rotterdam Exchange, unexcecuted,1926 -1927 Workers Houses at the Hoek of Holland 1927 Row of 5 houses, Weissenhof Housing Exposition, Stuttgart
17.
Gottfried Semper
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Gottfried Semper was a German architect, art critic, and professor of architecture, who designed and built the Semper Opera House in Dresden between 1838 and 1841. In 1849 he took part in the May Uprising in Dresden and was put on the wanted list. Semper fled first to Zürich and later to London, later he returned to Germany after the 1862 amnesty granted to the revolutionaries. Semper designed works at all scales, from a baton for Richard Wagner to major urban interventions like the re-design of the Ringstraße in Vienna, Semper was born into a well-to-do industrialist family in Altona. The fifth of eight children, he attended the Gelehrtenschule des Johanneums in Hamburg before starting his university education at Göttingen in 1823 and he subsequently studied architecture in 1825 at the University of Munich under Friedrich von Gärtner. In 1826, Semper travelled to Paris in order to work for the architect Franz Christian Gau, between 1830 and 1833 he travelled to Italy and Greece in order to study the architecture and designs of antiquity. In 1832 he participated for four months in archaeological research at the Acropolis in Athens, the drawn reconstructions of the painterly decorations of ancient villas he created in Athens inspired his later designs for the painted decorations in Dresden and Vienna. The flourishing growth of Dresden during this period provided the young architect with considerable creative opportunities, in 1838-40 a synagogue was built in Dresden to Sempers design, it was ever afterward called the Semper Synagogue and is noted for its Moorish Revival interior style. The Synagogues exterior was built in romanesque style so as not to call attention to itself, the interior design included not only the Moorish inspired wall decorations, but furnishings, specifically, a silver lamp of eternal light, which caught Richard Wagner and his wife Cosimas fancy. They gave a great deal of effort to have a copy of this lamp, Sempers student, Otto Simonson would construct the magnificent Moorish Revival Leipzig synagogue in 1855. Certain civic structures remain today, such as the Elbe-facing gallery of the Zwinger Palace complex and his first building for the Dresden Hoftheater burnt down, and the second, today called the Semperoper, was built in 1841. Other buildings also remain indelibly attached to his name, such as the Maternity Hospital, the Synagogue, the Oppenheim Palace, and this last construction stands as a prototype of German villa architecture. On September 1,1835 Semper married Bertha Thimmig, the marriage ultimately produced six children. A convinced Republican, Semper took a role, along with his friend Richard Wagner. He was a member of the Civic Guard and helped to erect barricades in the streets, when the rebellion collapsed, Semper was considered a leading agitator for democratic change and a ringleader against government authority and he was forced to flee the city. He was destined never to return to the city that would, ironically, the Saxon government maintained a warrant for his arrest until 1863. When the Semper-designed Hoftheater burnt down in 1869, King John, on the urging of the citizenry, Semper produced the plans, but left the actual construction to his son, Manfred. What must I have done in 48, that one persecutes me forever, one single barricade did I construct - it held, because it was practical, and as it was practical, it was beautiful, wrote Semper in dismay
18.
Materialism
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Materialism is closely related to physicalism, the view that all that exists is ultimately physical. Thus the term physicalism is preferred over materialism by some, while others use the terms as if they are synonymous, philosophies contradictory to materialism or physicalism include idealism, pluralism, dualism, and other forms of monism. Materialism belongs to the class of monist ontology, as such, it is different from ontological theories based on dualism or pluralism. For singular explanations of the reality, materialism would be in contrast to idealism, neutral monism. To idealists, spirit or mind or the objects of mind are primary, to materialists, matter is primary, and mind or spirit or ideas are secondary, the product of matter acting upon matter. The materialist view is perhaps best understood in its opposition to the doctrines of immaterial substance applied to the mind historically, famously by René Descartes, however, by itself materialism says nothing about how material substance should be characterized. In practice, it is assimilated to one variety of physicalism or another. Jerry Fodor influentially argues this view, according to which empirical laws, a lot of vigorous literature has grown up around the relation between these views. Modern philosophical materialists extend the definition of other scientifically observable entities such as energy, forces, however philosophers such as Mary Midgley suggest that the concept of matter is elusive and poorly defined. Materialism typically contrasts with dualism, phenomenalism, idealism, vitalism and its materiality can, in some ways, be linked to the concept of determinism, as espoused by Enlightenment thinkers. Later Marxists, such as Vladimir Lenin and Leon Trotsky developed the notion of dialectical materialism which characterized later Marxist philosophy, Materialism developed, possibly independently, in several geographically separated regions of Eurasia during what Karl Jaspers termed the Axial Age. In Ancient Indian philosophy, materialism developed around 600 BC with the works of Ajita Kesakambali, Payasi, Kanada, Kanada became one of the early proponents of atomism. The Nyaya–Vaisesika school developed one of the earliest forms of atomism, though their proofs of God, buddhist atomism and the Jaina school continued the atomic tradition. Xunzi developed a Confucian doctrine centered on realism and materialism in Ancient China, Ancient Greek philosophers like Thales, Anaxagoras, Epicurus and Democritus prefigure later materialists. The Latin poem De Rerum Natura by Lucretius reflects the philosophy of Democritus and Epicurus. According to this view, all that exists is matter and void, De Rerum Natura provides mechanistic explanations for phenomena such as erosion, evaporation, wind, and sound. Famous principles like nothing can touch body but body first appeared in the works of Lucretius, chinese thinkers of the early common era said to be materialists include Yang Xiong and Wang Chong. Later Indian materialist Jayaraashi Bhatta in his work Tattvopaplavasimha refuted the Nyaya Sutra epistemology, the materialistic Cārvāka philosophy appears to have died out some time after 1400
19.
Functionalism (architecture)
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In architecture, functionalism is the principle that architects should design a building based on the purpose of that building. This statement is less self-evident than it first appears, and is a matter of confusion and controversy within the profession, Functionalism had the strongest influence in Germany, Czechoslovakia, the USSR and the Netherlands. The place of functionalism in building can be traced back to the Vitruvian triad, Functionalist views were typical of some gothic revival architects. The implication is that if the functional aspects are satisfied, architectural beauty would naturally and necessarily follow, sullivans credo is often viewed as being ironic in light of his extensive use of intricate ornament, since a common belief among functionalist architects is that ornament serves no function. The credo also does not address whose function he means, nevertheless, form follows function expresses a significant and enduring idea. Sullivans protégé Frank Lloyd Wright is also cited as an exemplar of functional design, in the mid-1930s, functionalism began to be discussed as an aesthetic approach rather than a matter of design integrity. The idea of functionalism was conflated with lack of ornamentation, which is a different matter, for 70 years the preeminent and influential American architect Philip Johnson held that the profession has no functional responsibility whatsoever, and this is one of the many views today. Johnson said, Where form comes from I don’t know, the position of postmodern architect Peter Eisenman is based on a user-hostile theoretical basis and even more extreme, I dont do function. Popular notions of modern architecture are influenced by the work of the Franco-Swiss architect Le Corbusier. Both were functionalists at least to the extent that their buildings were radical simplifications of previous styles, Functionalism was a dominant architectonic style in former Czechoslovakia in the period of 1928-1970. It was a result of fascination first by industrial development and later by an effort to create a new man and its program was formulated by the Club of architects in Prague in 1924. In 1930s and then in 1960s and 1970s the position of functionalism was dominant, the term Danish Functionalism is sometimes used to describe the Danish branch of functionalistic architecture which had its heyday in the 1960s. A fine example of the Danish Functionalist style is Aarhus University designed by the architect C. F. Møller, Danish architects such as Kaare Klint and Arne Jacobsen extended their approach to the furniture now known as Danish modern. Zlín is a city in Czech republic which was in 1930s completely reconstructed on principles of functionalism, in that time the city was a headquarters of Bata Shoes company and Tomáš Baťa initiated a complex reconstruction of the city which was inspired by functionalism and the Garden city movement. Zlíns distinctive architecture was guided by principles that were observed during its whole inter-war development. Its central theme was the derivation of all elements from the factory buildings. The central position of the production in the life of all Zlín inhabitants was to be highlighted. Hence the same building materials were used for the construction of all public edifices, the common structural element of Zlín architecture is a square bay of 20x20 feet
20.
Red
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Red is the color at the longer-wavelengths end of the spectrum of visible light next to orange, at the opposite end from violet. Red color has a predominant light wavelength of roughly 620–740 nanometers, light with a longer wavelength than red but shorter than terahertz radiation and microwave is called infrared. Red is one of the secondary colors, resulting from the combination of yellow. Traditionally, it was viewed as a primary colour, along with yellow and blue, in the RYB color space and traditional color wheel formerly used by painters. Reds can vary in shade from light pink to very dark maroon or burgundy. Red is the color of cyan. In nature, the red color of blood comes from hemoglobin, the red color of the Grand Canyon and other geological features is caused by hematite or red ochre, both forms of iron oxide. It also causes the red color of the planet Mars, the color of autumn leaves is caused by pigments called anthocyanins, which are produced towards the end of summer, when the green chlorophyll is no longer produced. One to two percent of the population has red hair, the color is produced by high levels of the reddish pigment pheomelanin. Since red is the color of blood, it has historically been associated with sacrifice, danger, modern surveys in the United States and Europe show red is also the color most commonly associated with heat, activity, passion, sexuality, anger, love and joy. In China, India and many other Asian countries it is the color of symbolizing happiness, since the 19th century, red has also been associated with socialism and communism. The word red is derived from the Old English rēad, the word can be further traced to the Proto-Germanic rauthaz and the Proto-Indo European root rewdʰ-. In Sanskrit, the word means red or blood. In the Akkadian language of Ancient Mesopotamia and in the modern Inuit language of Inuit, the words for colored in Latin and Spanish both also mean red. In Portuguese the word for red is vermelho, which comes from Latin vermiculus, in the Russian language, the word for red, Кра́сный, comes from the same old Slavic root as the words for beautiful—красивый and excellent—прекрасный. Thus Red Square in Moscow, named long before the Russian Revolution, in heraldry, the word gules is used for red. Red can vary in hue from orange-red to violet-red, and for each hue there is a variety of shades and tints. Red hematite powder was found scattered around the remains at a grave site in a Zhoukoudian cave complex near Beijing
21.
Yellow
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Yellow is the color between green and orange on the spectrum of visible light. It is evoked by light with a predominant wavelength of roughly 570–590 nm, in traditional color theory, used in painting, and in the subtractive color system, used in color printing, yellow is a primary color. In the RGB color model, used to create colors on television and computer screens, yellow is made by combining red, the word yellow comes from the Old English geolu, geolwe, meaning yellow, yellowish, derived from the Proto-Germanic word gelwaz yellow. It has the same Indo-European base, gʰel-, as the gold and yell. In Iran it has connotations of pallor/sickness, but also wisdom and it plays an important role in Asian culture, particularly in China, where it is seen as the color of happiness, glory, wisdom, harmony, and culture. The word yellow comes from the Old English geolu, geolwe, meaning yellow, yellowish and it has the same Indo-European base, gʰel-, as the words gold and yell, gʰel- means both bright and gleaming, and to cry out. The English term is related to other Germanic words for yellow, namely Scots yella, East Frisian jeel, West Frisian giel, Dutch geel, German gelb, and Swedish and Norwegian gul. According to the Oxford English Dictionary, the oldest known use of word in English is from The Epinal Glossary in 700. Yellow, in the form of yellow pigment made from clay, was one of the first colors used in prehistoric cave art. The cave of Lascaux has an image of a horse colored with yellow estimated to be 17,300 years old, in Ancient Egypt, yellow was associated with gold, which was considered to be imperishable, eternal and indestructible. The skin and bones of the gods were believed to be made of gold, the Egyptians used yellow extensively in tomb paintings, they usually used either yellow ochre or the brilliant orpiment, though it was made of arsenic and was highly toxic. A small paintbox with orpiment pigment was found in the tomb of King Tutankhamun, men were always shown with brown faces, women with yellow ochre or gold faces. The ancient Romans used yellow in their paintings to represent gold and it is found frequently in the murals of Pompeii. During the Post-Classical period, yellow became firmly established as the color of Judas Iscariot, from this connection, yellow also took on associations with envy, jealousy and duplicity. The tradition started in the Renaissance of marking non-Christian outsiders, such as Jews, in 16th century Spain, those accused of heresy and who refused to renounce their views were compelled to come before the Spanish Inquisition dressed in a yellow cape. The color yellow has been associated with moneylenders and finance. The National Pawnbrokers Associations logo depicts three golden spheres hanging from a bar, referencing the three bags of gold that the saint of pawnbroking, St. Nicholas, holds in his hands. Additionally, the symbol of three golden orbs is found in the coat of arms of the House of Medici, a fifteenth century Italian dynasty of bankers and lenders
22.
Blue
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Blue is the colour between violet and green on the optical spectrum of visible light. Human eyes perceive blue when observing light with a wavelength between 450 and 495 nanometres, which is between 4500 and 4950 ångströms. Blues with a frequency and thus a shorter wavelength gradually look more violet, while those with a lower frequency. Pure blue, in the middle, has a wavelength of 470 nanometers, in painting and traditional colour theory, blue is one of the three primary colours of pigments, along with red and yellow, which can be mixed to form a wide gamut of colours. Red and blue mixed together form violet, blue and yellow together form green, Blue is also a primary colour in the RGB colour model, used to create all the colours on the screen of a television or computer monitor. The clear sky and the sea appear blue because of an optical effect known as Rayleigh scattering. When sunlight passes through the atmosphere, the wavelengths are scattered more widely by the oxygen and nitrogen molecules. An optical effect called Tyndall scattering, similar to Rayleigh scattering, explains blue eyes, distant objects appear more blue because of another optical effect called atmospheric perspective. Blue has been used for art and decoration since ancient times and it is the most important color in Judaism. In the Middle Ages, cobalt blue was used to colour the stained glass windows of cathedrals, beginning in the 9th century, Chinese artists used cobalt to make fine blue and white porcelain. Blue dyes for clothing were made from woad in Europe and indigo in Asia, in 1828 a synthetic ultramarine pigment was developed, and synthetic blue dyes and pigments gradually replaced mineral pigments and vegetable dyes. Pierre-Auguste Renoir, Vincent van Gogh and other late 19th century painters used ultramarine and cobalt blue not just to depict nature, in the late 18th century and 19th century, blue became a popular colour for military uniforms and police uniforms. In the 20th century, because blue was associated with harmony, it was chosen as the colour of the flags of the United Nations. Surveys in the US and Europe show that blue is the colour most commonly associated with harmony, faithfulness, confidence, distance, infinity, the imagination, cold, and sometimes with sadness. In US and European public opinion polls it is the most popular colour, Blue is the colour of light between violet and green on the visible spectrum. Blues also vary in shade or tint, darker shades of blue contain black or grey, darker shades of blue include ultramarine, cobalt blue, navy blue, and Prussian blue, while lighter tints include sky blue, azure, and Egyptian blue. Today most blue pigments and dyes are made by a chemical process, the modern English word blue comes from Middle English bleu or blewe, from the Old French bleu, a word of Germanic origin, related to the Old High German word blao. In heraldry, the azure is used for blue
23.
Grey
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Grey or gray is an intermediate color between black and white. It is a neutral or achromatic color, meaning literally that it is a color without color and this means that there are equal components of red, green, and blue. The variations in intensity of these colors uniformly produce different shades of grey and it is the color of a cloud-covered sky, of ash and of lead. The first recorded use of grey as a name in the English language was in AD700. Grey is the dominant spelling in European and Commonwealth English, although remained in common usage in the UK until the second half of the 20th century. Gray has been the preferred American spelling since approximately 1825, although grey is an accepted variant, in Europe and the United States, surveys show that grey is the color most commonly associated with neutrality, conformity, boredom, uncertainty, old age, indifference, and modesty. Only one percent of respondents chose it as their favorite color, Grey comes from the Middle English grai or grei, from the Anglo-Saxon graeg, and is related to the Dutch grauw and grijs and German grau. The first recorded use of grey as a name in the English language was in AD700. In antiquity and the Middle Ages, grey was the color of undyed wool, and thus was the color most commonly worn by peasants and the poor. It was also the color worn by monks of the Franciscan order, Cistercian Order, Franciscan monks in England and Scotland were commonly known as the Grey friars, and that name is now attached to many places in Great Britain. During the Renaissance and the Baroque, grey began to play an important role in fashion, Black became the most popular color of the nobility, particularly in Italy, France, and Spain, and grey and white were harmonious with it. Grey was also used for the drawing of oil paintings. The painting would first be composed in grey and white, and then the colors, made with thin transparent glazes, the grisaille beneath would provide the shading, visible through the layers of color. Sometimes the grisaille was simply left uncovered, giving the appearance of carved stone, Grey was a particularly good background color for gold and for skin tones. It became the most common background for the portraits of Rembrandt Van Rijn and for many of the paintings of El Greco, the palette of Rembrandt was composed almost entirely of somber colors. Over this he put a layer of glaze made of mixture of blue smalt, red ochre. Using these ingredients and many others, he made greys which had, according to art historian Philip Ball, the warm, dark and rich greys and browns served to emphasize the golden light on the faces in the paintings. Grey became a fashionable color in the 18th century, both for womens dresses and for mens waistcoats and coats
24.
Carpentry
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Carpentry in the United States is almost always done by men. With 98. 5% of carpenters being male, it was the fourth most male-dominated occupation in the country in 1999, Carpenters are usually the first tradesmen on a job and the last to leave. Carpenters normally framed post-and-beam buildings until the end of the 19th century and it is also common that the skill can be learned by gaining work experience other than a formal training program, which may be the case in many places. The word carpenter is the English rendering of the Old French word carpentier which is derived from the Latin carpentrius, the Middle English and Scots word was wright, which could be used in compound forms such as wheelwright or boatwright. An easy way to envisage this is that first fix work is all that is done before plastering takes place, second fix is done after plastering takes place. Second fix work, the construction of such as skirting boards, architraves. Carpentry is also used to construct the formwork into which concrete is poured during the building of such as roads. In the UK, the skill of making timber formwork for poured, or in situ, although the. work of a carpenter and joiner are often combined. Joiner is less common than the finish carpenter or cabinetmaker. The terms housewright and barnwright were used historically, now used by carpenters who work using traditional methods. Someone who builds custom concrete formwork is a form carpenter, wood is one of mankinds oldest building materials. The ability to shape wood improved with technological advances from the age to the bronze age to the iron age. The oldest surviving, complete text is Vitruvius ten books collectively titled De architectura which discusses some carpentry. By the 16th century sawmills were coming into use in Europe, the founding of America was partly based on a desire to extract resources from the new continent including wood for use in ships and buildings in Europe. In the 18th century part of the Industrial Revolution was the invention of the steam engine and these technologies combined with the invention of the circular saw led to the development of balloon framing which was the beginning of the decline of traditional timber framing. The 19th century saw the development of engineering and distribution which allowed the development of hand-held power tools, wire nails. In the 20th century portland cement came into use and concrete foundations allowed carpenters to do away with heavy timber sills. Also, drywall came into common use replacing lime plaster on wooden lath, plywood, engineered lumber and chemically treated lumber also came into use
25.
Cubist
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Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. Cubism has been considered the most influential art movement of the 20th century, the term is broadly used in association with a wide variety of art produced in Paris during the 1910s and extending through the 1920s. The movement was pioneered by Georges Braque and Pablo Picasso, joined by Andre Lhote, Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris. A primary influence that led to Cubism was the representation of form in the late works of Paul Cézanne. The impact of Cubism was far-reaching and wide-ranging, Cubism spread rapidly across the globe and in doing so evolved to a greater or lesser extent. In essence, Cubism was the origin of a process that produced diversity. In France, offshoots of Cubism developed, including Orphism, Abstract art, in other countries Futurism, Suprematism, Dada, Constructivism, De Stijl and Art Deco developed in response to Cubism. Other common threads between these movements include the faceting or simplification of geometric forms, and the association of mechanization. Cubism began between 1907 and 1911, Pablo Picassos 1907 painting Les Demoiselles dAvignon has often been considered a proto-Cubist work. Georges Braques 1908 Houses at L’Estaque prompted the critic Louis Vauxcelles to refer to bizarreries cubiques, Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings. A second phase, Synthetic Cubism, remained vital until around 1919, english art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. Douglas Coopers restrictive use of terms to distinguish the work of Braque, Picasso, Gris. Alternative interpretations of Cubism have therefore developed, wider views of Cubism include artists who were later associated with the Salle 41 artists, e. g. John Berger identifies the essence of Cubism with the mechanical diagram. The metaphorical model of Cubism is the diagram, The diagram being a symbolic representation of invisible processes, forces, structures. A diagram need not eschew certain aspects of appearance but these too will be treated as not as imitations or recreations. During the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian, artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein, at a time when artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks. Picassos paintings of 1907 have been characterized as Protocubism, as seen in Les Demoiselles dAvignon
26.
Bauhaus
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The Bauhaus was founded by Walter Gropius in Weimar. Nonetheless, it was founded with the idea of creating a work of art in which all arts, including architecture. The Bauhaus style later became one of the most influential currents in modern design, Modernist architecture and art, design, the Bauhaus had a profound influence upon subsequent developments in art, architecture, graphic design, interior design, industrial design, and typography. Although the school was closed, the continued to spread its idealistic precepts as they left Germany. The changes of venue and leadership resulted in a constant shifting of focus, technique, instructors, many Germans of left-wing views were influenced by the cultural experimentation that followed the Russian Revolution, such as constructivism. Such influences can be overstated, Gropius did not share these radical views, thus, the Bauhaus style, also known as the International Style, was marked by the absence of ornamentation and by harmony between the function of an object or a building and its design. In its first seven years, the Werkbund came to be regarded as the body on questions of design in Germany. The entire movement of German architectural modernism was known as Neues Bauen, beginning in June 1907, Peter Behrens pioneering industrial design work for the German electrical company AEG successfully integrated art and mass production on a large scale. Behrens was a member of the Werkbund, and both Walter Gropius and Adolf Meyer worked for him in this period. The Bauhaus was founded at a time when the German zeitgeist had turned from emotional Expressionism to the matter-of-fact New Objectivity, beyond the Bauhaus, many other significant German-speaking architects in the 1920s responded to the same aesthetic issues and material possibilities as the school. They also responded to the promise of a minimal dwelling written into the new Weimar Constitution, ernst May, Bruno Taut, and Martin Wagner, among others, built large housing blocks in Frankfurt and Berlin. The acceptance of modernist design into everyday life was the subject of publicity campaigns, well-attended public exhibitions like the Weissenhof Estate, films, the Vkhutemas, the Russian state art and technical school founded in 1920 in Moscow, has been compared to Bauhaus. Founded a year after the Bauhaus school, Vkhutemas has close parallels to the German Bauhaus in its intent, organization, the two schools were the first to train artist-designers in a modern manner. Vkhutemas was a school than the Bauhaus, but it was less publicised outside the Soviet Union. With the internationalism of modern architecture and design, there were exchanges between the Vkhutemas and the Bauhaus. In addition, El Lissitzkys book Russia, an Architecture for World Revolution published in German in 1930 featured several illustrations of Vkhutemas/Vkhutein projects there. The school was founded by Walter Gropius in Weimar in 1919 as a merger of the Grand Ducal School of Arts and Crafts and the Weimar Academy of Fine Art. Its roots lay in the arts and crafts founded by the Grand Duke of Saxe-Weimar-Eisenach in 1906
27.
International Style (architecture)
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A visually weightless quality engendered by the use of cantilever construction. Glass and steel, in combination with usually less visible reinforced concrete, are the materials of the construction. Commissioned in 1931 by the director of the Museum of Modern Art, Alfred H. Barr Jr. The original exhibition catalogue was then followed up immediately by the book titled The International Style, the aesthetics-based definition of The International Style identified, categorized and expanded upon characteristics said to be common to Modernism across the world and its stylistic aspects. Hitchcock and Johnson identified three principles, the expression of volume rather than mass, the emphasis on rather than preconceived symmetry. The aim of Hitchcock and Johnson was to define a style that would encapsulate this modern architecture, all the works in the 1932 Museum of Modern Art exhibition were carefully selected, only displaying those that strictly followed these rules. Many Modernists disliked the term, believing that they had arrived at an approach to architecture that transcended style, the British architectural historian Sir Nikolaus Pevsner commented, To me what had been achieved in 1914 was the style of the century. It never occurred to me to look beyond, here was the one and only style which fitted all those aspects which mattered, aspects of economics and sociology, of materials and function. It seems folly to think anybody would wish to abandon it. The exhibition Modern Architecture, International Exhibition opened on February 9,1932, at the Museum of Modern Art, in the Heckscher Building at Fifth Avenue and 56th Street in New York. In the largest exhibition space, Room C, were works by Le Corbusier, Ludwig Mies van der Rohe, Room B was a section titled Housing, presenting the need for a new domestic environment” as it had been identified by historian and critic Lewis Mumford. In Room D were works by Raymond Hood and Richard Neutra, among these works was shown Alvar Aaltos Turun Sanomat newspaper offices building in Turku, Finland. The exhibition is significant for its approach to the architectural exhibition. Highly curated in nature, the 1932 exhibition was driven by a desire to promote and consolidate the theory of international modernism, as such, the exhibition featured prominently the work of the core of the modernist group. With Van Der Rohe, Corbusier, Oud, and Gropius at the forefront, moMAs then director Alfred H. Barr hired art historians Philip Johnson and Henry-Russell Hitchcock to curate the museums first architectural exhibition. In 1929, Johnson attended the ceremony of his sister in Wellesley College, where he met Barr. In one month, Barr would be interviewed by Abby Aldrich Rockefeller for the position of the director of the MOMA, Barr added Johnson to MOMAs Junior Advisory Committee. Hitchcock graduated in 1924 after having completed his studies in three years and spending his senior year in architecture
28.
Cubism
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Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. Cubism has been considered the most influential art movement of the 20th century, the term is broadly used in association with a wide variety of art produced in Paris during the 1910s and extending through the 1920s. The movement was pioneered by Georges Braque and Pablo Picasso, joined by Andre Lhote, Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris. A primary influence that led to Cubism was the representation of form in the late works of Paul Cézanne. The impact of Cubism was far-reaching and wide-ranging, Cubism spread rapidly across the globe and in doing so evolved to a greater or lesser extent. In essence, Cubism was the origin of a process that produced diversity. In France, offshoots of Cubism developed, including Orphism, Abstract art, in other countries Futurism, Suprematism, Dada, Constructivism, De Stijl and Art Deco developed in response to Cubism. Other common threads between these movements include the faceting or simplification of geometric forms, and the association of mechanization. Cubism began between 1907 and 1911, Pablo Picassos 1907 painting Les Demoiselles dAvignon has often been considered a proto-Cubist work. Georges Braques 1908 Houses at L’Estaque prompted the critic Louis Vauxcelles to refer to bizarreries cubiques, Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings. A second phase, Synthetic Cubism, remained vital until around 1919, english art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. Douglas Coopers restrictive use of terms to distinguish the work of Braque, Picasso, Gris. Alternative interpretations of Cubism have therefore developed, wider views of Cubism include artists who were later associated with the Salle 41 artists, e. g. John Berger identifies the essence of Cubism with the mechanical diagram. The metaphorical model of Cubism is the diagram, The diagram being a symbolic representation of invisible processes, forces, structures. A diagram need not eschew certain aspects of appearance but these too will be treated as not as imitations or recreations. During the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian, artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein, at a time when artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks. Picassos paintings of 1907 have been characterized as Protocubism, as seen in Les Demoiselles dAvignon
29.
Futurism
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Futurism was an artistic and social movement that originated in Italy in the early 20th century. It emphasized speed, technology, youth, and violence, and objects such as the car, the aeroplane, although it was largely an Italian phenomenon, there were parallel movements in Russia, England, Belgium and elsewhere. It glorified modernity and aimed to liberate Italy from the weight of its past, Cubism contributed to the formation of Italian Futurisms artistic style. Important Futurist works included Marinettis Manifesto of Futurism, Boccionis sculpture Unique Forms of Continuity in Space, to some extent Futurism influenced the art movements Art Deco, Constructivism, Surrealism, Dada, and to a greater degree Precisionism, Rayonism, and Vorticism. Futurism is a movement founded in Milan in 1909 by the Italian poet Filippo Tommaso Marinetti. He was soon joined by the painters Umberto Boccioni, Carlo Carrà, Giacomo Balla, Gino Severini, Marinetti expressed a passionate loathing of everything old, especially political and artistic tradition. We want no part of it, the past, he wrote, publishing manifestos was a feature of Futurism, and the Futurists wrote them on many topics, including painting, architecture, religion, clothing and cooking. The founding manifesto did not contain an artistic programme, which the Futurists attempted to create in their subsequent Technical Manifesto of Futurist Painting. This committed them to a universal dynamism, which was to be represented in painting. The motor bus rushes into the houses which it passes, the Futurist painters were slow to develop a distinctive style and subject matter. In 1910 and 1911 they used the techniques of Divisionism, breaking light and color down into a field of stippled dots and stripes, which had been originally created by Giovanni Segantini and others. Later, Severini, who lived in Paris, attributed their backwardness in style and method at this time to their distance from Paris, the centre of avant-garde art. Severini was the first to come into contact with Cubism and following a visit to Paris in 1911 the Futurist painters adopted the methods of the Cubists, Cubism offered them a means of analysing energy in paintings and expressing dynamism. They often painted modern urban scenes, carràs Funeral of the Anarchist Galli is a large canvas representing events that the artist had himself been involved in, in 1904. The action of an attack and riot is rendered energetically with diagonals. His Leaving the Theatre uses a Divisionist technique to render isolated, Boccionis The City Rises represents scenes of construction and manual labour with a huge, rearing red horse in the centre foreground, which workmen struggle to control. The Futurists aimed through their art thus to enable the viewer to apprehend the inner being of what they depicted, Boccioni developed these ideas at length in his book, Pittura scultura Futuriste, Dinamismo plastico. Ballas Dynamism of a Dog on a Leash exemplifies the Futurists insistence that the world is in constant movement
30.
Surrealism
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Surrealism is a cultural movement that began in the early 1920s, and is best known for its visual artworks and writings. The aim was to resolve the previously contradictory conditions of dream, leader André Breton was explicit in his assertion that Surrealism was, above all, a revolutionary movement. Surrealism developed out of the Dada activities during World War I, the word surrealist was coined by Guillaume Apollinaire and first appeared in the preface to his play Les Mamelles de Tirésias, which was written in 1903 and first performed in 1917. The Dadaists protested with anti-art gatherings, performances, writings and art works, after the war, when they returned to Paris, the Dada activities continued. Meeting the young writer Jacques Vaché, Breton felt that Vaché was the son of writer. He admired the young writers anti-social attitude and disdain for established artistic tradition, later Breton wrote, In literature, I was successively taken with Rimbaud, with Jarry, with Apollinaire, with Nouveau, with Lautréamont, but it is Jacques Vaché to whom I owe the most. Back in Paris, Breton joined in Dada activities and started the literary journal Littérature along with Louis Aragon and they began experimenting with automatic writing—spontaneously writing without censoring their thoughts—and published the writings, as well as accounts of dreams, in the magazine. Breton and Soupault delved deeper into automatism and wrote The Magnetic Fields, continuing to write, they came to believe that automatism was a better tactic for societal change than the Dada form of attack on prevailing values. They also looked to the Marxist dialectic and the work of such theorists as Walter Benjamin, freuds work with free association, dream analysis, and the unconscious was of utmost importance to the Surrealists in developing methods to liberate imagination. They embraced idiosyncrasy, while rejecting the idea of an underlying madness, as Salvador Dalí later proclaimed, There is only one difference between a madman and me. Beside the use of analysis, they emphasized that one could combine inside the same frame, elements not normally found together to produce illogical. The more the relationship between the two juxtaposed realities is distant and true, the stronger the image will be−the greater its emotional power, the group aimed to revolutionize human experience, in its personal, cultural, social, and political aspects. They wanted to people from false rationality, and restrictive customs. Breton proclaimed that the aim of Surrealism was long live the social revolution. To this goal, at various times Surrealists aligned with communism and anarchism, in 1924 two Surrealist factions declared their philosophy in two separate Surrealist Manifestos. That same year the Bureau of Surrealist Research was established, leading up to 1924, two rival surrealist groups had formed. Each group claimed to be successors of a revolution launched by Guillaume Apollinaire, the other group, led by Breton, included Louis Aragon, Robert Desnos, Paul Éluard, Jacques Baron, Jacques-André Boiffard, Jean Carrive, René Crevel and Georges Malkine, among others. Goll and Breton clashed openly, at one point literally fighting, at the Comédie des Champs-Élysées, in the end, Breton won the battle through tactical and numerical superiority
31.
Music
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Music is an art form and cultural activity whose medium is sound organized in time. The common elements of music are pitch, rhythm, dynamics, different styles or types of music may emphasize, de-emphasize or omit some of these elements. The word derives from Greek μουσική, Ancient Greek and Indian philosophers defined music as tones ordered horizontally as melodies and vertically as harmonies. Common sayings such as the harmony of the spheres and it is music to my ears point to the notion that music is often ordered and pleasant to listen to. However, 20th-century composer John Cage thought that any sound can be music, saying, for example, There is no noise, the creation, performance, significance, and even the definition of music vary according to culture and social context. There are many types of music, including music, traditional music, art music, music written for religious ceremonies. For example, it can be hard to draw the line between some early 1980s hard rock and heavy metal, within the arts, music may be classified as a performing art, a fine art or as an auditory art. People may make music as a hobby, like a teen playing cello in a youth orchestra, the word derives from Greek μουσική. According to the Online Etymological Dictionary, the music is derived from mid-13c. Musike, from Old French musique and directly from Latin musica the art of music and this is derived from the. Greek mousike of the Muses, from fem. of mousikos pertaining to the Muses, from Mousa Muse. In classical Greece, any art in which the Muses presided, Music is composed and performed for many purposes, ranging from aesthetic pleasure, religious or ceremonial purposes, or as an entertainment product for the marketplace. With the advent of recording, records of popular songs. Some music lovers create mix tapes of their songs, which serve as a self-portrait. An environment consisting solely of what is most ardently loved, amateur musicians can compose or perform music for their own pleasure, and derive their income elsewhere. Professional musicians sometimes work as freelancers or session musicians, seeking contracts and engagements in a variety of settings, There are often many links between amateur and professional musicians. Beginning amateur musicians take lessons with professional musicians, in community settings, advanced amateur musicians perform with professional musicians in a variety of ensembles such as community concert bands and community orchestras. However, there are many cases where a live performance in front of an audience is also recorded and distributed. Live concert recordings are popular in classical music and in popular music forms such as rock, where illegally taped live concerts are prized by music lovers
32.
Minimalist
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In visual arts, music, and other mediums, minimalism is a style that uses pared-down design elements. Minimalism began in post–World War II Western art, most strongly with American visual arts in the 1960s, prominent artists associated with minimalism include Donald Judd, John McCracken, Agnes Martin, Dan Flavin, Robert Morris, Anne Truitt, and Frank Stella. It derives from the reductive aspects of modernism and is interpreted as a reaction against abstract expressionism. Minimalism in music often features repetition and iteration such as those of the compositions of La Monte Young, Terry Riley, Steve Reich, Philip Glass, the term minimalist often colloquially refers to anything that is spare or stripped to its essentials. It has accordingly been used to describe the plays and novels of Samuel Beckett, the films of Robert Bresson, the stories of Raymond Carver, and the automobile designs of Colin Chapman. The word was first used in English in the early 20th century to describe a 1913 composition by the Russian painter Kasimir Malevich of a square on a white ground. Guggenheim Museum curated by Lawrence Alloway also in 1966 that showcased Geometric abstraction in the American art world via Shaped canvas, Color Field, in the wake of those exhibitions and a few others the art movement called minimal art emerged. Minimal art is inspired in part by the paintings of Barnett Newman, Ad Reinhardt, Josef Albers, and the works of artists as diverse as Pablo Picasso, Marcel Duchamp, Giorgio Morandi. Minimalism was also a reaction against the painterly subjectivity of Abstract Expressionism that had been dominant in the New York School during the 1940s and 1950s. The philosopher or art historian who can envision me—or anyone at all—arriving at aesthetic judgments in this way reads shockingly more into himself or herself than into my article. They very explicitly stated that their art was not about self-expression, in general, minimalisms features included geometric, often cubic forms purged of much metaphor, equality of parts, repetition, neutral surfaces, and industrial materials. Robert Morris, a theorist and artist, wrote a three part essay, Notes on Sculpture 1-3, originally published across three issues of Artforum in 1966. In these essays, Morris attempted to define a conceptual framework and formal elements for himself and these essays paid great attention to the idea of the gestalt - parts. Bound together in such a way that create a maximum resistance to perceptual separation. Morris later described an art represented by a marked lateral spread, the general shift in theory of which this essay is an expression suggests the transition into what would later be referred to as postminimalism. Stellas decisions about structures on the front surface of the canvas were therefore not entirely subjective, in the show catalog, Carl Andre noted, Art excludes the unnecessary. Frank Stella has found it necessary to paint stripes, there is nothing else in his painting. Because of a tendency in art to exclude the pictorial, illusionistic and fictive in favor of the literal, there was a movement away from painterly
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Impressionist
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Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. The Impressionists faced harsh opposition from the art community in France. The development of Impressionism in the arts was soon followed by analogous styles in other media that became known as impressionist music. Radicals in their time, early Impressionists violated the rules of academic painting and they constructed their pictures from freely brushed colours that took precedence over lines and contours, following the example of painters such as Eugène Delacroix and J. M. W. Turner. They also painted scenes of modern life, and often painted outdoors. Previously, still lifes and portraits as well as landscapes were painted in a studio. The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air, the Impressionists, however, developed new techniques specific to the style. The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if the art critics and art establishment disapproved of the new style. In the middle of the 19th century—a time of change, as Emperor Napoleon III rebuilt Paris, the Académie was the preserver of traditional French painting standards of content and style. Historical subjects, religious themes, and portraits were valued, landscape, the Académie preferred carefully finished images that looked realistic when examined closely. Paintings in this style were made up of brush strokes carefully blended to hide the artists hand in the work. Colour was restrained and often toned down further by the application of a golden varnish, the Académie had an annual, juried art show, the Salon de Paris, and artists whose work was displayed in the show won prizes, garnered commissions, and enhanced their prestige. The standards of the juries represented the values of the Académie, represented by the works of artists as Jean-Léon Gérôme. In the early 1860s, four young painters—Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and they discovered that they shared an interest in painting landscape and contemporary life rather than historical or mythological scenes. A favourite meeting place for the artists was the Café Guerbois on Avenue de Clichy in Paris, where the discussions were led by Édouard Manet. They were soon joined by Camille Pissarro, Paul Cézanne, during the 1860s, the Salon jury routinely rejected about half of the works submitted by Monet and his friends in favour of works by artists faithful to the approved style. In 1863, the Salon jury rejected Manets The Luncheon on the Grass primarily because it depicted a woman with two clothed men at a picnic. While the Salon jury routinely accepted nudes in historical and allegorical paintings, the jurys severely worded rejection of Manets painting appalled his admirers, and the unusually large number of rejected works that year perturbed many French artists
34.
World War I
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World War I, also known as the First World War, the Great War, or the War to End All Wars, was a global war originating in Europe that lasted from 28 July 1914 to 11 November 1918. More than 70 million military personnel, including 60 million Europeans, were mobilised in one of the largest wars in history and it was one of the deadliest conflicts in history, and paved the way for major political changes, including revolutions in many of the nations involved. The war drew in all the worlds great powers, assembled in two opposing alliances, the Allies versus the Central Powers of Germany and Austria-Hungary. These alliances were reorganised and expanded as more nations entered the war, Italy, Japan, the trigger for the war was the assassination of Archduke Franz Ferdinand of Austria, heir to the throne of Austria-Hungary, by Yugoslav nationalist Gavrilo Princip in Sarajevo on 28 June 1914. This set off a crisis when Austria-Hungary delivered an ultimatum to the Kingdom of Serbia. Within weeks, the powers were at war and the conflict soon spread around the world. On 25 July Russia began mobilisation and on 28 July, the Austro-Hungarians declared war on Serbia, Germany presented an ultimatum to Russia to demobilise, and when this was refused, declared war on Russia on 1 August. Germany then invaded neutral Belgium and Luxembourg before moving towards France, after the German march on Paris was halted, what became known as the Western Front settled into a battle of attrition, with a trench line that changed little until 1917. On the Eastern Front, the Russian army was successful against the Austro-Hungarians, in November 1914, the Ottoman Empire joined the Central Powers, opening fronts in the Caucasus, Mesopotamia and the Sinai. In 1915, Italy joined the Allies and Bulgaria joined the Central Powers, Romania joined the Allies in 1916, after a stunning German offensive along the Western Front in the spring of 1918, the Allies rallied and drove back the Germans in a series of successful offensives. By the end of the war or soon after, the German Empire, Russian Empire, Austro-Hungarian Empire, national borders were redrawn, with several independent nations restored or created, and Germanys colonies were parceled out among the victors. During the Paris Peace Conference of 1919, the Big Four imposed their terms in a series of treaties, the League of Nations was formed with the aim of preventing any repetition of such a conflict. This effort failed, and economic depression, renewed nationalism, weakened successor states, and feelings of humiliation eventually contributed to World War II. From the time of its start until the approach of World War II, at the time, it was also sometimes called the war to end war or the war to end all wars due to its then-unparalleled scale and devastation. In Canada, Macleans magazine in October 1914 wrote, Some wars name themselves, during the interwar period, the war was most often called the World War and the Great War in English-speaking countries. Will become the first world war in the sense of the word. These began in 1815, with the Holy Alliance between Prussia, Russia, and Austria, when Germany was united in 1871, Prussia became part of the new German nation. Soon after, in October 1873, German Chancellor Otto von Bismarck negotiated the League of the Three Emperors between the monarchs of Austria-Hungary, Russia and Germany
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Paris
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Paris is the capital and most populous city of France. It has an area of 105 square kilometres and a population of 2,229,621 in 2013 within its administrative limits, the agglomeration has grown well beyond the citys administrative limits. By the 17th century, Paris was one of Europes major centres of finance, commerce, fashion, science, and the arts, and it retains that position still today. The aire urbaine de Paris, a measure of area, spans most of the Île-de-France region and has a population of 12,405,426. It is therefore the second largest metropolitan area in the European Union after London, the Metropole of Grand Paris was created in 2016, combining the commune and its nearest suburbs into a single area for economic and environmental co-operation. Grand Paris covers 814 square kilometres and has a population of 7 million persons, the Paris Region had a GDP of €624 billion in 2012, accounting for 30.0 percent of the GDP of France and ranking it as one of the wealthiest regions in Europe. The city is also a rail, highway, and air-transport hub served by two international airports, Paris-Charles de Gaulle and Paris-Orly. Opened in 1900, the subway system, the Paris Métro. It is the second busiest metro system in Europe after Moscow Metro, notably, Paris Gare du Nord is the busiest railway station in the world outside of Japan, with 262 millions passengers in 2015. In 2015, Paris received 22.2 million visitors, making it one of the top tourist destinations. The association football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris, the 80, 000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros, Paris hosted the 1900 and 1924 Summer Olympics and is bidding to host the 2024 Summer Olympics. The name Paris is derived from its inhabitants, the Celtic Parisii tribe. Thus, though written the same, the name is not related to the Paris of Greek mythology. In the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps, since the late 19th century, Paris has also been known as Panam in French slang. Inhabitants are known in English as Parisians and in French as Parisiens and they are also pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the areas major north-south trade routes crossed the Seine on the île de la Cité, this place of land and water trade routes gradually became a town
36.
Gray Tree
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Gray Tree is an oil painting by Piet Mondrian. This painting was made in 1911 on canvas on a board measuring 78.5 ×107.5 cm and it is exhibited at Gemeentemuseum Den Haag, The Hague. The work came at a time when Mondrian was beginning to experiment with Cubism, its foreground and background seem to intermingle. The tree is subtly oval in form, following another Cubist practice seen in works by Pablo Picasso, mondrians oval became explicit, framing the work, in paintings that followed over the next three or four years. Apple Tree in Flower, also from 1912, is a similarly sized composition, though the outline of the apple tree recalls that of Gray Tree, the work is significantly more faceted and abstract
37.
Stedelijk Museum Amsterdam
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The Stedelijk Museum Amsterdam, colloquially known as the Stedelijk, is a museum for modern art, contemporary art, and design located in Amsterdam, Netherlands. The 19th century building was designed by Adriaan Willem Weissman and the 21st century wing with the current entrance was designed by Benthem Crouwel Architects. It is located at the Museum Square in the borough Amsterdam South, where it is close to the Van Gogh Museum, the Rijksmuseum, the collection comprises modern and contemporary art and design from the early 20th century up to the 21st century. In 2015, the museum had an estimated 675,000 visitors, the Stedelijk Museum, Amsterdam, opened on 14 September 1895 as an initiative of the local authority and private individuals. The Dutch Neo-Renaissance style museum building was designed by Dutch architect Adriaan Willem Weissman as part of a project spearheaded by local citizens starting in 1850. The construction of the building was funded in 1890 by Sophia Adriana de Bruyn. The Van Eeghen family also contributed to the costs and donated paintings from the collection of Christiaan Pieter van Eeghen. The building was constructed between 1891 and 1895 at Paulus Potterstraat, a walking distance from the Rijksmuseum. The museums original collection included militaria of the Amsterdam militia, Asiatic art, and artifacts from the Museum of Chronometry, in 1905, Cornelis Baard was appointed curator of the Stedelijk and promoted to museum director in 1920. During his time as curator, the local authority began building its own collection of modern art, the Great Depression in the Netherlands led to municipal cutbacks and an increased need for policy reviews in the first half of the 1930s. In 1932, a committee was established with two members from the VVHK and two from the local authority. These four figures oversaw all art purchases for the museum, notably works of Hague and Amsterdam Impressionism, the museum began actively acquiring art in 1930. Nijkerks collection of books came to the Stedelijk, which was expanded to include aesthetic book design. The Museum of Applied Art opened on the floor of the west wing on 15 December 1934. In 1936, David Röell, who had worked at the Rijksmuseum and was secretary of the VVHK. Röell appointed Willem Sandberg as the new curator in January 1938, Sandberg eventually took over as director of the museum in 1945. By 1962, the VVHK handed over most of its collection, including works by George Hendrik Breitner, Paul Cézanne, Jean-Baptiste-Camille Corot, Gustave Courbet, Vincent van Gogh, and Johan Jongkind. Under the direction of Sandberg, the Stedelijk started a department of applied art in 1945, at the start of 1950, the Stedelijk also began to present modern music and films
38.
Laren, North Holland
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Laren is a municipality and a town in the Netherlands, in the province of North Holland. Located in the region called Gooi, it is the oldest town in that area and it is one of the most affluent in the Netherlands, along with its neighbour Blaricum. Nationally, Laren is well known for its history as a late 20th-century art colony, preserved in the museum Singer Laren, Laren is part of the Amsterdam Metropolitan Area. This town is not to be confused with Laren in Gelderland, which is the setting for the book The War in the Corner, by Jan Braakman.29 per 1000 Death Rate,17.94 per 1000 NGR, -1. 07% per year
39.
Manifesto
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A manifesto is a published verbal declaration of the intentions, motives, or views of the issuer, be it an individual, group, political party or government. A manifesto usually accepts a previously published opinion or public consensus or promotes a new idea with prescriptive notions for carrying out changes the author believes should be made and it often is political or artistic in nature, but may present an individuals life stance. Manifestos relating to religious belief are generally referred to as creeds and it is derived from the Italian word manifesto, itself derived from the Latin manifestum, meaning clear or conspicuous. Its first recorded use in English is from 1620, in Nathaniel Brents translation of Paolo Sarpis History of the Council of Trent, the 1890 Manifesto dealing with plural marriage, issued by Wilford Woodruff as president of The Church of Jesus Christ of Latter-day Saints. The Port Huron Statement, by Tom Hayden et al
40.
Hendrik Petrus Berlage
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Hendrik Petrus Berlage was a prominent Dutch architect. He studied architecture at the Zurich Institute of Technology between 1875 and 1878 after which he traveled extensively for 3 years through Europe, in the 1880s he formed a partnership in the Netherlands with Theodore Sanders which produced a mixture of practical and utopian projects. A published author, Berlage held memberships in various architectural societies including CIAM I and this influence is visible in his design for the Amsterdam Commodities Exchange, for which he would also draw on the ideas of Viollet-le-Duc. The load-bearing bare brick walls and the notion of the primacy of space, a visit Berlage made to the U. S. in 1911 greatly affected his architecture. From then on the architecture of Frank Lloyd Wright would be a significant influence. Lectures he gave when returned to Europe would help to disseminate Wrights thoughts in Germany, a notable overseas commission was the 1916 Holland House, built as offices for a Dutch shipping company in Bury Street in the City of London. He received the British RIBA Royal Gold Medal in 1932, Berlage died at The Hague in 1934. In 1970, the IAU named the lunar crater Berlage after him. P, Berlage, Schriften zur Architektur, Birkhäuser Basel, ISBN 3-7643-2587-9 Singelenberg, Pieter, H. P
41.
Frank Lloyd Wright
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Frank Lloyd Wright was an American architect, interior designer, writer, and educator, who designed more than 1,000 structures,532 of which were completed. Wright believed in designing structures that were in harmony with humanity and its environment and this philosophy was best exemplified by Fallingwater, which has been called the best all-time work of American architecture. Wright was a leader of the Prairie School movement of architecture and developed the concept of the Usonian home and his creative period spanned more than 70 years. In addition to his houses, Wright designed original and innovative offices, churches, schools, skyscrapers, hotels, museums and he often designed interior elements for these buildings as well, including furniture and stained glass. Wright wrote 20 books and many articles and was a lecturer in the United States. His colorful personal life made headlines, most notably for the 1914 fire. Wright was recognized in 1991 by the American Institute of Architects as the greatest American architect of all time, Frank Lloyd Wright was born Frank Lincoln Wright in the farming town of Richland Center, Wisconsin, United States, in 1867. His father, William Carey Wright, was an orator, music teacher, occasional lawyer, William Wright met and married Anna Lloyd Jones, a county school teacher, the previous year when he was employed as the superintendent of schools for Richland County. Originally from Massachusetts, William Wright had been a Baptist minister, Anna was a member of the large, prosperous and well-known Lloyd Jones family of Unitarians, who had emigrated from Wales to Spring Green, Wisconsin. One of Annas brothers was Jenkin Lloyd Jones, who would become an important figure in the spread of the Unitarian faith in the Western United States, both of Wrights parents were strong-willed individuals with idiosyncratic interests that they passed on to him. According to his biography, his mother declared when she was expecting that her first child would grow up to build beautiful buildings and she decorated his nursery with engravings of English cathedrals torn from a periodical to encourage the infants ambition. In 1870 the family moved to Weymouth, Massachusetts, where William ministered to a small congregation, in 1876, Anna visited the Centennial Exhibition in Philadelphia where she saw an exhibit of educational blocks created by Friedrich Wilhelm August Fröbel. The blocks, known as Froebel Gifts, were the foundation of his innovative kindergarten curriculum, Anna, a trained teacher, was excited by the program and bought a set with which young Wright spent much time playing. The blocks in the set were geometrically shaped and could be assembled in various combinations to form three-dimensional compositions, the Wright family struggled financially in Weymouth and returned to Spring Green, Wisconsin, where the supportive Lloyd Jones clan could help William find employment. They settled in Madison, where William taught music lessons and served as the secretary to the newly formed Unitarian society, although William was a distant parent, he shared his love of music, especially the works of Johann Sebastian Bach, with his children. Soon after Wright turned 14, his parents separated, Anna had been unhappy for some time with Williams inability to provide for his family and asked him to leave. The divorce was finalized in 1885 after William sued Anna for lack of physical affection, William left Wisconsin after the divorce and Wright claimed he never saw his father again. At this time he changed his name from Lincoln to Lloyd in honor of his mothers family
42.
Malevich
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Kazimir Severinovich Malevich was a Russian painter and art theoretician. He was a pioneer of abstract art and the originator of the avant-garde Suprematist movement. He was a devout Christian mystic who believed the central task of an artist was that of rendering spiritual feeling, Kazimir Malevich was born Kazimierz Malewicz to a Polish family, who settled near Kiev in Kiev Governorate of the Russian Empire during the partitions of Poland. His parents, Ludwika and Seweryn Malewicz, were Roman Catholic like most ethnic Poles and they both had fled from the former eastern territories of the Commonwealth to Kiev in the aftermath of the failed Polish January Uprising of 1863 against the tsarist army. His native language was Polish though he spoke Ukrainian in public, subsequently, Malevich even wrote a series of articles about art in Ukrainian. Kazimirs father managed a sugar factory, Kazimir was the first of fourteen children, only nine of whom survived into adulthood. His family moved often and he spent most of his childhood in the villages of Ukraine, amidst sugar-beet plantations, until age twelve he knew nothing of professional artists, although art had surrounded him in childhood. He delighted in peasant embroidery, and in decorated walls and stoves and he was able to paint in the peasant style. He studied drawing in Kiev from 1895 to 1896, from 1896 to 1904 Kazimir Malevich lived in Kursk. In 1904, after the death of his father, he moved to Moscow and he studied at the Moscow School of Painting, Sculpture, and Architecture from 1904 to 1910 and in the studio of Fedor Rerberg in Moscow. In the same year he participated in an exhibition by the collective, by that time his works were influenced by Natalia Goncharova and Mikhail Larionov, Russian avant-garde painters, who were particularly interested in Russian folk art called lubok. Malevich described himself as painting in a Cubo-Futuristic style in 1912, in March 1913 a major exhibition of Aristarkh Lentulovs paintings opened in Moscow. Already in the year the Cubo-Futurist opera, Victory Over the Sun, with Malevichs stage-set. In 1914 Malevich exhibited his works in the Salon des Indépendants in Paris together with Alexander Archipenko, Sonia Delaunay, Aleksandra Ekster, Malevich also co-illustrated, with Pavel Filonov, Selected Poems with Postscript, 1907–1914 by Velimir Khlebnikov and another work by Khlebnikov in 1914 titled Roar. In 1915, Malevich laid down the foundations of Suprematism when he published his manifesto, in 1915–1916 he worked with other Suprematist artists in a peasant/artisan co-operative in Skoptsi and Verbovka village. In 1916–1917 he participated in exhibitions of the Jack of Diamonds group in Moscow together with Nathan Altman, David Burliuk, Aleksandra Ekster, famous examples of his Suprematist works include Black Square and White On White. Malevich exhibited his first Black Square, now at the Tretyakov Gallery in Moscow, a black square placed against the sun appeared for the first time in the 1913 scenery designs for the Futurist opera Victory over the Sun. The second Black Square was painted around 1923, some believe that the third Black Square was painted in 1929 for Malevichs solo exhibition, because of the poor condition of the 1915 square
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Constructivism (art)
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Constructivism was an artistic and architectural philosophy that originated in Russia beginning in 1913 by Vladimir Tatlin. This was a rejection of the idea of autonomous art, the movement was in favour of art as a practice for social purposes. Constructivism had an effect on modern art movements of the 20th century, influencing major trends such as the Bauhaus. Its influence was pervasive, with effects upon architecture, graphic design, industrial design, theatre, film, dance, fashion. The term Construction Art was first used as a term by Kazimir Malevich to describe the work of Alexander Rodchenko in 1917. Constructivism first appears as a term in Naum Gabos Realistic Manifesto of 1920. Aleksei Gan used the word as the title of his book Constructivism, Constructivism was a post-World War I development of Russian Futurism, and particularly of the counter reliefs of Vladimir Tatlin, which had been exhibited in 1915. Constructivism as theory and practice was derived largely from a series of debates at INKhUK in Moscow, later the definition would be extended to designs for two-dimensional works such as books or posters, with montage and factography becoming important concepts. As much as involving itself in designs for industry, the Constructivists worked on public festivals, perhaps the most famous of these was in Vitebsk, where Malevichs UNOVIS Group painted propaganda plaques and buildings. Inspired by Vladimir Mayakovskys declaration the streets our brushes, the squares our palettes, artists, in addition some Constructivists were heavily involved in the ROSTA Windows, a Bolshevik public information campaign of around 1920. Some of the most famous of these were by the poet-painter Vladimir Mayakovsky, the constructivists tried to create works that would make the viewer an active viewer of the artwork. These theories were tested in theatre, particularly with the work of Vsevolod Meyerhold, Meyerhold developed a biomechanical acting style, which was influenced both by the circus and by the scientific management theories of Frederick Winslow Taylor. Meanwhile, the sets by the likes of Vesnin, Popova and Stepanova tested Constructivist spatial ideas in a public form. A more populist version of this was developed by Alexander Tairov, with sets by Aleksandra Ekster. These ideas would influence German directors like Bertolt Brecht and Erwin Piscator, Gabo publicly criticized Tatlins design saying, Either create functional houses and bridges or create pure art, not both. This had already caused a controversy in the Moscow group in 1920 when Gabo. This was opposed to the utilitarian and adaptable version of Constructivism held by Tatlin, the tower was never built, however, due to a lack of money following the revolution. A Constructivist international was formed, which met with Dadaists and De Stijl artists in Germany in 1922, participants in this short-lived international included Lissitzky, Hans Richter, and László Moholy-Nagy
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Dada
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Dada or Dadaism was an art movement of the European avant-garde in the early 20th century, with early centers in Zürich, Switzerland at the Cabaret Voltaire, in New York, and after 1920, in Paris. The art of the movement spanned visual, literary, and sound media, including collage, sound poetry, cut-up writing, Dadaist artists expressed their discontent with violence, war, and nationalism, and maintained political affinities with the radical left. Others note that it suggests the first words of a child, evoking a childishness, still others speculate that the word might have been chosen to evoke a similar meaning in any language, reflecting the movements internationalism. The roots of Dada lay in pre-war avant-garde, the term anti-art, a precursor to Dada, was coined by Marcel Duchamp around 1913 to characterize works which challenge accepted definitions of art. Cubism and the development of collage and abstract art would inform the movements detachment from the constraints of reality, the work of French poets, Italian Futurists and the German Expressionists would influence Dadas rejection of the tight correlation between words and meaning. Works such as Ubu Roi by Alfred Jarry, and the ballet Parade by Erik Satie would also be characterized as proto-Dadaist works, the Dada movements principles were first collected in Hugo Balls Dada Manifesto in 1916. The movement influenced later styles like the avant-garde and downtown music movements, Dada was an informal international movement, with participants in Europe and North America. The beginnings of Dada correspond to the outbreak of World War I, avant-garde circles outside France knew of pre-war Parisian developments. Futurism developed in response to the work of various artists, many Dadaists believed that the reason and logic of bourgeois capitalist society had led people into war. They expressed their rejection of that ideology in artistic expression that appeared to reject logic and embrace chaos, for example, George Grosz later recalled that his Dadaist art was intended as a protest against this world of mutual destruction. According to Hans Richter Dada was not art, it was anti-art, Dada represented the opposite of everything which art stood for. Where art was concerned with aesthetics, Dada ignored aesthetics. If art was to appeal to sensibilities, Dada was intended to offend, as Hugo Ball expressed it, For us, art is not an end in itself. But it is an opportunity for the perception and criticism of the times we live in. A reviewer from the American Art News stated at the time that Dada philosophy is the sickest, most paralyzing and most destructive thing that has ever originated from the brain of man. Art historians have described Dada as being, in large part, a systematic work of destruction and demoralization. In the end it became nothing but an act of sacrilege, to quote Dona Budds The Language of Art Knowledge, Dada was born out of negative reaction to the horrors of the First World War. This international movement was begun by a group of artists and poets associated with the Cabaret Voltaire in Zürich, Dada rejected reason and logic, prizing nonsense, irrationality and intuition
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I. K. Bonset
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Theo van Doesburg was a Dutch artist, who practiced painting, writing, poetry and architecture. He is best known as the founder and leader of De Stijl, Theo van Doesburg was born Christian Emil Marie Küpper on August 30,1883, in Utrecht, the Netherlands, as the son of the photographer Wilhelm Küpper and Henrietta Catherina Margadant. After a short training in acting and singing he decided to become a painter and he always regarded his stepfather, Theodorus Doesburg, to be his natural father, so that his first works are signed with Theo Doesburg, to which he later added the insertion van. His first exhibition was in 1908, from 1912 onwards, he supported his works by writing for magazines. This suddenly changed in 1913 after reading Wassily Kandinskys Rückblicke, in which he looks back at his life as a painter from 1903–1913. It made him realize there was a higher, more level in painting that originates from the mind rather than from everyday life. It was already in 1912 that Van Doesburg was criticizing Futurism in an art article in Eenheid no. 127, on November 9,1912, because The mimetic expression of velocity is diametrically opposed to the character of painting, on November 6,1915, he wrote in the same journal, Mondrian realizes the importance of line. The line has almost become a work of art in itself, the white canvas is almost solemn. Each superfluous line, each wrongly placed line, any color placed without veneration or care, can spoil everything—that is, Van Doesburg saw in these paintings his ideal in painting, a complete abstraction of reality. Soon after the exposition Van Doesburg got in contact with Mondrian, and together with related artists Bart van der Leck, Anthony Kok, Vilmos Huszar, oud they founded the magazine De Stijl in 1917. Although De Stijl was made up of members, Van Doesburg was the ambassador of the movement. He moved to Weimar in 1922, deciding to make an impression on the Bauhaus principal, Walter Gropius, while Gropius accepted many of the precepts of contemporary art movements he did not feel that Doesburg should become a Bauhaus master. Doesburg then installed himself near to the Bauhaus buildings and started to attract students interested in the new ideas of Constructivism. The friendship between Van Doesburg and Mondrian remained strong in these years, although their way of communication was by letter. In 1923 Van Doesburg moved to Paris together with his later wife Nelly van Moorsel, because the two men got to see each other on a much more regular basis the differences in character became apparent, Mondrian was an introvert, while van Doesburg was more flamboyant and extravagant. During 1924 the two men had disagreements, which led to a split in the same year. Mondrian accepted some concepts of diagonals, such as in his Lozenge paintings, in recent years, however, this theory gained critique from art historians such as Carel Blotkamp, who cites their different concepts about space and time as the main reason for the split
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