1.
The Bellelli Family
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The Bellelli Family, also known as Family Portrait, is an oil painting on canvas by Edgar Degas, painted ca. 1858–1867, and housed in the Musée dOrsay, a masterwork of Degas youth, the painting is a portrait of his aunt, her husband, and their two young daughters. While finishing his training in Italy, Degas drew and painted his aunt Laura, her husband the baron Gennaro Bellelli. Although it is not known for certain when or where Degas executed the painting, Laura, his fathers sister, is depicted in a dress which symbolizes mourning for her father, who had recently died and appears in the framed portrait behind her. The baron was an Italian patriot exiled from Naples, living in Florence, Laura Bellellis countenance is dignified and austere, her gesture connected with those of her daughters. Her husband, by contrast, appears to be separated from his family and his association with business and the outside world is implied by his position at his desk. Giulia holds a livelier pose than that of her sister Giovanna, in 1856 Degas left his home in Paris to study art and visit family relations in Italy, arriving in Naples on 17 July. In 1857 he traveled between Naples, where he stayed with his grandfather, Hilaire Degas, and Rome, Degas arrived in Florence by 4 August, living with his uncle Gennaro and making studies in the Uffizi. As I predicted, one of them is much at fault and our sister a little. Laura subsequently confided to Degas that, living in exile, she missed her Neapolitan family, and further, living with Gennaro, whose detestable nature you know and who has no serious occupation, shall soon lead me to the grave. These conflicts would provide background and content for the painting. After his aunt and cousins returned in early November 1858, Degas undertook a series of works that would culminate in The Bellelli Family. It appears that he planned to paint a vertical composition depicting his aunt. Degas wrote of Giulia and Giovanna, The elder one was in fact a little beauty, the younger one, on the other hand, was smart as can be and kind as an angel. I am painting them in mourning dress and small white aprons, the preparatory works include portrait studies and compositional details in pencil, pastel, and oil. In late March 1859, Degas left Florence to return to Paris, supporting this conclusion is the observation that the Bellellis apartment was too small to host such a large work, and there were no studio facilities. The work of artists provided inspiration, at this time Degas included in his correspondence mention of Anthony van Dyck, Giorgione. As in Las Meninas, a picture, mirror, and doorway are used to expand the space of the interior, any and all historical models were synthesized into a composition that was unique in the painters oeuvre and unique among the works of his contemporaries
2.
Impressionism
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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
3.
Printmaking
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Printmaking is the process of making artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints that have an element of originality, except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each print produced is not considered a copy but rather is considered an original, a print may be known as an impression. Printmaking is not chosen only for its ability to multiple impressions. Prints are created by transferring ink from a matrix or through a screen to a sheet of paper or other material. Screens made of silk or synthetic fabrics are used for the screenprinting process, other types of matrix substrates and related processes are discussed below. Multiple impressions printed from the matrix form an edition. Prints may also be printed in book form, such as illustrated books or artists books, Printmaking techniques are generally divided into the following basic categories, Relief, where ink is applied to the original surface of the matrix. Relief techniques include woodcut or woodblock as the Asian forms are known, wood engraving. Intaglio, where ink is applied beneath the surface of the matrix. Intaglio techniques include engraving, etching, mezzotint, aquatint, planographic, where the matrix retains its original surface, but is specially prepared and/or inked to allow for the transfer of the image. Planographic techniques include lithography, monotyping, and digital techniques, stencil, where ink or paint is pressed through a prepared screen, including screenprinting and pochoir. Other types of printmaking techniques outside these groups include collagraphy and viscosity printing, collagraphy is a printmaking technique in which textured material is adhered to the printing matrix. This texture is transferred to the paper during the printing process, Contemporary printmaking may include digital printing, photographic mediums, or a combination of digital, photographic, and traditional processes. Many of these techniques can also be combined, especially within the same family, for example, Rembrandts prints are usually referred to as etchings for convenience, but very often include work in engraving and drypoint as well, and sometimes have no etching at all. Woodcut, a type of print, is the earliest printmaking technique. It was probably first developed as a means of printing patterns on cloth, woodcuts of images on paper developed around 1400 in Japan, and slightly later in Europe. These are the two areas where woodcut has been most extensively used purely as a process for making images without text, the artist draws a design on a plank of wood, or on paper which is transferred to the wood
4.
Realist visual arts
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Realism in the arts is the attempt to represent subject matter truthfully, without artificiality and avoiding artistic conventions, implausible, exotic and supernatural elements. Realism has been prevalent in the arts at many periods, and is in part a matter of technique and training. In the visual arts, illusionistic realism is the depiction of lifeforms, perspective. Realist works of art may emphasize the mundane, ugly or sordid, such as works of realism, regionalism. There have been various movements in the arts, such as the opera style of verismo, literary realism, theatrical realism. The realism art movement in painting began in France in the 1850s, the realist painters rejected Romanticism, which had come to dominate French literature and art, with roots in the late 18th century. Realism is the precise, detailed and accurate representation in art of the appearance of scenes. Realism in this sense is also called naturalism, mimesis or illusionism, realistic art was created in many periods, and it is in large part a matter of technique and training, and the avoidance of stylization. It becomes especially marked in European painting in the Early Netherlandish painting of Jan van Eyck, however such realism is often used to depict, for example, angels with wings, which were not things the artists had ever seen in real life. It is the choice and treatment of matter that defines Realism as a movement in painting. The development of increasingly accurate representation of the appearances of things has a long history in art. It includes elements such as the depiction of the anatomy of humans and animals, of perspective and effects of distance. Ancient Greek art is recognised as having made great progress in the representation of anatomy. Pliny the Elders famous story of birds pecking at grapes painted by Zeuxis in the 5th century BC may well be a legend, roman portraiture, when not under too much Greek influence, shows a greater commitment to a truthful depiction of its subjects. The art of Late Antiquity famously rejected illusionism for expressive force, scientific methods of representing perspective were developed in Italy and gradually spread across Europe, and accuracy in anatomy rediscovered under the influence of classical art. As in classical times, idealism remained the norm, intriguingly, having led the development of illusionic painting, still life was to be equally significant in its abandonment in Cubism. The depiction of ordinary, everyday subjects in art also has a history, though it was often squeezed into the edges of compositions. However these objects are at least largely there because they carry layers of complex significance, pieter Bruegel the Elder pioneered large panoramic scenes of peasant life
5.
Drawing
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Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. A drawing instrument releases small amount of material onto a surface, the most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything, the medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas, the wide availability of drawing instruments makes drawing one of the most common artistic activities. In addition to its artistic forms, drawing is frequently used in commercial illustration, animation, architecture, engineering. A quick, freehand drawing, usually not intended as a work, is sometimes called a sketch. An artist who practices or works in technical drawing may be called a drafter, Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper/other material, traditional drawings were monochrome, or at least had little colour, while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks, dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a medium, applied with brushes or pens. Drawing is often exploratory, with emphasis on observation, problem-solving. Drawing is also used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies, there are several categories of drawing, including figure drawing, cartooning, doodling, free hand and shading. There are also many drawing methods, such as drawing, stippling, shading, the surrealist method of entopic graphomania. A quick, unrefined drawing may be called a sketch, in fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called drawings even when they have been transferred to another medium by printing. Drawing as a Form of Communication Drawing is one of the oldest forms of human expression and these drawings, known as pictograms, depicted objects and abstract concepts. The sketches and paintings produced in prehistoric times were eventually stylised and simplified, Drawing in the Arts Drawing is used to express ones creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise, initially, artists used and reused wooden tablets for the production of their drawings
6.
Portrait
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A portrait is a painting, photograph, sculpture, or other artistic representation of a person, in which the face and its expression is predominant. The intent is to display the likeness, personality, and even the mood of the person, for this reason, in photography a portrait is generally not a snapshot, but a composed image of a person in a still position. A portrait often shows a person looking directly at the painter or photographer, nonetheless, many subjects, such as Akhenaten and some other Egyptian pharaohs, can be recognised by their distinctive features. The 28 surviving rather small statues of Gudea, ruler of Lagash in Sumeria between c.2144 -2124 BC, show a consistent appearance with some individuality. Some of the earliest surviving painted portraits of people who were not rulers are the Greco-Roman funeral portraits that survived in the dry climate of Egypts Fayum district. These are almost the only paintings from the world that have survived, apart from frescos, though many sculptures. Although the appearance of the figures differs considerably, they are considerably idealized, the art of the portrait flourished in Ancient Greek and especially Roman sculpture, where sitters demanded individualized and realistic portraits, even unflattering ones. During the 4th century, the portrait began to retreat in favor of a symbol of what that person looked like. In the Europe of the Early Middle Ages representations of individuals are mostly generalized, true portraits of the outward appearance of individuals re-emerged in the late Middle Ages, in tomb monuments, donor portraits, miniatures in illuminated manuscripts and then panel paintings. Moche culture of Peru was one of the few ancient civilizations which produced portraits and these works accurately represent anatomical features in great detail. The individuals portrayed would have been recognizable without the need for other symbols or a reference to their names. The individuals portrayed were members of the elite, priests, warriors. They were represented during several stages of their lives, the faces of gods were also depicted. To date, no portraits of women have been found, there is particular emphasis on the representation of the details of headdresses, hairstyles, body adornment and face painting. One of the portraits in the Western world is Leonardo da Vincis painting titled Mona Lisa. What has been claimed as the worlds oldest known portrait was found in 2006 in the Vilhonneur grotto near Angoulême and is thought to be 27,000 years old. Profile view, full view, and three-quarter view, are three common designations for portraits, each referring to a particular orientation of the head of the individual depicted. Such terms would tend to have greater applicability to two-dimensional artwork such as photography, in the case of three-dimensional artwork, the viewer can usually alter their orientation to the artwork by moving around it
7.
History painting
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History painting is a genre in painting defined by its subject matter rather than artistic style. History paintings usually depict a moment in a story, rather than a specific and static subject. The term is derived from the senses of the word historia in Latin and Italian, meaning story or narrative. Most history paintings are not of scenes from history, especially paintings from before about 1850, History paintings almost always contain a number of figures, often a large number, and normally show some type of action that is a moment in a narrative. The genre includes depictions of moments in religious narratives, above all the Life of Christ, as well as scenes from mythology. These groups were for long the most frequently painted, works such as Michelangelos Sistine Chapel ceiling are therefore history paintings, History painting may be used interchangeably with historical painting, and was especially so used before the 20th century. Where a distinction is made historical painting is the painting of scenes from secular history, in the 19th century historical painting in this sense became a distinct genre. In phrases such as historical painting materials, historical means in use before about 1900 and he placed emphasis on the ability to depict the interactions between the figures by gesture and expression. This view remained general until the 19th century, when artistic movements began to struggle against the establishment institutions of academic art, which continued to adhere to it. Scenes from ancient history had been popular in the early Renaissance, and once again became common in the Baroque and Rococo periods, and still more so with the rise of Neoclassicism. In some 19th or 20th century contexts, the term may refer specifically to paintings of scenes from history, rather than those from religious narratives. Scenes from ancient history and mythology were also popular, artists continued for centuries to strive to make their reputation by producing such works, often neglecting genres to which their talents were better suited. The large works of Raphael were long considered, with those of Michelangelo, un Peintre qui ne fait que des portraits, na pas encore cette haute perfection de lArt, & ne peut prétendre à lhonneur que reçoivent les plus sçavans. He who produces perfect landscapes is above another who only produces fruit, a painter who only does portraits still does not have the highest perfection of his art, and cannot expect the honour due to the most skilled. By the late 18th century, with religious and mytholological painting in decline, there was an increased demand for paintings of scenes from history. Classical history remained popular, but scenes from national histories were often the best-received, the unheroic nature of modern dress was regarded as a serious difficulty. When, in 1770, Benjamin West proposed to paint The Death of General Wolfe in contemporary dress and he ignored these comments and showed the scene in modern dress. Although George III refused to purchase the work, West succeeded both in overcoming his critics objections and inaugurating a more historically accurate style in such paintings. M. W, conveniently their clothes had been worn away to classical-seeming rags by the point the painting depicts
8.
Louisiana Creole people
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Louisiana Creole people, are persons descended from the inhabitants of colonial Louisiana during the period of both French and Spanish rule. The term creole was originally used by French settlers to distinguish persons born in Louisiana from those born in the country or elsewhere. As in many other societies around the world, creole was a term used to mean those who were native-born. It also came to be applied to African-descended slaves and Native Americans who were born in Louisiana, Louisiana Creoles share cultural ties, such as the traditional use of the French language and a predominance of practice of Catholicism. As more refugees were allowed in Louisiana, Haitian émigrés who had first gone to Cuba also arrived and these groups had strong influences on the city and its culture. Later immigrants to New Orleans, such as Irish, Germans and Italians, Louisiana Creoles are mostly Catholic in religion. Through the 19th century, most spoke French and were connected to French colonial culture. Only the small Spanish Creole communities of Saint Bernard Parish and Galveztown spoke Spanish and they have maintained cultural traditions from the Canary Islands, where their ancestors came from, to the present. The varieties of Louisiana Creoles shaped the culture, particularly in the southern areas around New Orleans. Louisiana is known as the Creole State, other enclaves of Creole culture have been located in south Louisiana, Frilot Cove, Bois Mallet, Grand Marais, Palmetto, Lawtell, Soileau and others. These communities have had a history of cultural independence. Another area where many creoles can be found is within the River Parishes, St. Charles, St. John, and St. James. Through both the French and Spanish regimes, parochial and colonial governments used the term Creole for ethnic French, parisian French was the predominant language among colonists in early New Orleans. Later the regional French evolved to contain local phrases and slang terms, the French Creoles spoke what became known as Colonial French. Because of isolation, the language in the colony developed differently from that in France and it was spoken by the ethnic French and Spanish and their Creole descendants. The commonly accepted definition of Louisiana Creole today is a person descended from ancestors in Louisiana before the Louisiana Purchase by the United States in 1803. An estimated 7,000 European immigrants settled in Louisiana during the 18th century, Louisiana attracted considerably fewer French colonists than did its West Indian colonies. After the crossing of the Atlantic Ocean, which lasted more than two months, the colonists had numerous challenges ahead of them in the Louisiana frontier
9.
New Orleans
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New Orleans is a major United States port and the largest city and metropolitan area in the state of Louisiana. The population of the city was 343,829 as of the 2010 U. S. Census, the New Orleans metropolitan area had a population of 1,167,764 in 2010 and was the 46th largest in the United States. The New Orleans–Metairie–Bogalusa Combined Statistical Area, a trading area, had a 2010 population of 1,452,502. The city is named after the Duke of Orleans, who reigned as Regent for Louis XV from 1715 to 1723, as it was established by French colonists and it is well known for its distinct French and Spanish Creole architecture, as well as its cross-cultural and multilingual heritage. New Orleans is also famous for its cuisine, music, and its celebrations and festivals, most notably Mardi Gras. The city is referred to as the most unique in the United States. New Orleans is located in southeastern Louisiana, straddling the Mississippi River, the city and Orleans Parish are coterminous. The city and parish are bounded by the parishes of St. Tammany to the north, St. Bernard to the east, Plaquemines to the south, and Jefferson to the south and west. Lake Pontchartrain, part of which is included in the city limits, lies to the north, before Hurricane Katrina, Orleans Parish was the most populous parish in Louisiana. As of 2015, it ranks third in population, trailing neighboring Jefferson Parish, La Nouvelle-Orléans was founded May 7,1718, by the French Mississippi Company, under the direction of Jean-Baptiste Le Moyne de Bienville, on land inhabited by the Chitimacha. It was named for Philippe II, Duke of Orléans, who was Regent of the Kingdom of France at the time and his title came from the French city of Orléans. The French colony was ceded to the Spanish Empire in the Treaty of Paris, during the American Revolutionary War, New Orleans was an important port for smuggling aid to the rebels, transporting military equipment and supplies up the Mississippi River. Bernardo de Gálvez y Madrid, Count of Gálvez successfully launched a campaign against the British from the city in 1779. New Orleans remained under Spanish control until 1803, when it reverted briefly to French oversight, nearly all of the surviving 18th-century architecture of the Vieux Carré dates from the Spanish period, the most notable exception being the Old Ursuline Convent. Napoleon sold Louisiana to the United States in the Louisiana Purchase in 1803, thereafter, the city grew rapidly with influxes of Americans, French, Creoles, and Africans. Later immigrants were Irish, Germans, and Italians, Major commodity crops of sugar and cotton were cultivated with slave labor on large plantations outside the city. The Haitian Revolution ended in 1804 and established the republic in the Western Hemisphere. It had occurred several years in what was then the French colony of Saint-Domingue
10.
Louisiana
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Louisiana is a state located in the southern region of the United States. Louisiana is the 31st most extensive and the 25th most populous of the 50 United States and its capital is Baton Rouge and largest city is New Orleans. Louisiana is the state in the U. S. with political subdivisions termed parishes. The largest parish by population is East Baton Rouge Parish, Louisiana is bordered by Arkansas to the north, Mississippi to the east, Texas to the west, and the Gulf of Mexico to the south. Much of the lands were formed from sediment washed down the Mississippi River, leaving enormous deltas and vast areas of coastal marsh. These contain a rich southern biota, typical examples include birds such as ibis, there are also many species of tree frogs, and fish such as sturgeon and paddlefish. In more elevated areas, fire is a process in the landscape. These support a large number of plant species, including many species of orchids. Louisiana has more Native American tribes than any other state, including four that are federally recognized, ten that are state recognized. Before the American purchase of the territory in 1803, the current Louisiana State had been both a French colony and for a period, a Spanish one. In addition, colonists imported numerous African people as slaves in the 18th century, many came from peoples of the same region of West Africa, thus concentrating their culture. Louisiana was named after Louis XIV, King of France from 1643 to 1715, when René-Robert Cavelier, Sieur de La Salle claimed the territory drained by the Mississippi River for France, he named it La Louisiane. The suffix -ana is a Latin suffix that can refer to information relating to an individual, subject. Thus, roughly, Louis + ana carries the idea of related to Louis, the Gulf of Mexico did not exist 250 million years ago when there was but one supercontinent, Pangea. As Pangea split apart, the Atlantic Ocean and Gulf of Mexico opened, Louisiana slowly developed, over millions of years, from water into land, and from north to south. The oldest rocks are exposed in the north, in such as the Kisatchie National Forest. The oldest rocks date back to the early Tertiary Era, some 60 million years ago, the history of the formation of these rocks can be found in D. Spearings Roadside Geology of Louisiana. The sediments were carried north to south by the Mississippi River
11.
Port-au-Prince
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Port-au-Prince is the capital and most populous city of Haiti. The citys population was estimated at 987,310 in 2015 with the area estimated at a population of 2,618,894. The metropolitan area is defined by the IHSI as including the communes of Port-au-Prince, Delmas, Cite Soleil, Tabarre, Carrefour, and Pétion-Ville. The city of Port-au-Prince is on the Gulf of Gonâve, the bay on which the city lies and it was first incorporated under French colonial rule in 1749. The citys layout is similar to that of an amphitheatre, commercial districts are near the water, the city was catastrophically affected by a devastating earthquake in 2010, with large numbers of structures damaged or destroyed. Haitis government estimated the toll to be 230,000. It is said that a captain named de Saint-André named the area in 1706, after he sailed into the bay in a ship named Le Prince, hence Port-au-Prince to mean, Port of the Le Prince. However, the port and the region continued to be known as Hôpital. It was later renamed back to Port-au-Prince by Jacques I, Emperor of Haiti, when Haiti was divided between a kingdom in the north and a republic in the south, Port-au-Prince was the capital of the republic, under the leadership of Alexandre Pétion. Henri Christophe renamed the city Port-aux-Crimes after the assassination of Jacques I at Pont Larnage, prior to the arrival of Christopher Columbus, the island of Hispaniola was inhabited by people known as the Taíno, who arrived in approximately 2600 BC in large dugout canoes. They are believed to come primarily from what is now eastern Venezuela, by the time Columbus arrived in 1492 AD, the region was under the control of Bohechio, Taíno cacique Xaragua. He, like his predecessors, feared settling too close to the coast, such settlements would have proven to be tempting targets for the Caribes, instead, the region served as a hunting ground. The population of the region was approximately 400,000 at the time, with the arrival of the Spaniards, the Amerindians were forced to accept a protectorate, and Bohechio, childless at death, was succeeded by his sister, Anacaona, wife of the cacique Caonabo. The Spanish insisted on larger tributes, eventually, the Spanish colonial administration decided to rule directly, and in 1503, Nicolas Ovando, then governor, set about to put an end to the régime headed by Anacaona. He invited her and other leaders to a feast. Anacaona was spared, only to be hanged publicly some time later, through violence and murders, the Spanish settlers decimated the native population. Not long thereafter, Ovando founded Santa Maria del Puerto, the latter was first burned by French explorers in 1535, then again in 1592 by the English. These assaults proved to be too much for the Spanish colonial administration, around 1650, French pirates, or flibustiers, running out of room on the Île de la Tortue began to arrive on the coast, and established a colony at Trou-Borded
12.
Haiti
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Haiti, officially the Republic of Haiti and formerly called Hayti, is a country located on the island of Hispaniola in the Greater Antilles archipelago of the Caribbean Sea. It occupies the western three-eighths of the island, which it shares with the Dominican Republic, the region was originally inhabited by the indigenous Taíno people. Spain discovered the island on 5 December 1492 during the first voyage of Christopher Columbus across the Atlantic, when Columbus initially landed in Haiti, he had thought he had found India or Asia. On Christmas Day 1492, Columbus flagship the Santa Maria ran aground north of what is now Limonade, the island was named La Española and claimed by Spain, which ruled until the early 17th century. Competing claims and settlements by the French led to the portion of the island being ceded to France. The development of plantations, worked by slaves brought from Africa. Upon his death in a prison in France, he was succeeded by his lieutenant, Jean-Jacques Dessalines, the Haitian Revolution lasted just over a dozen years, and apart from Alexandre Pétion, the first President of the Republic, all the first leaders of government were former slaves. The Citadelle Laferrière is the largest fortress in the Americas, Henri Christophe – former slave and first king of Haiti, Henri I – built it to withstand a possible foreign attack. It has the lowest Human Development Index in the Americas, most recently, in February 2004, a coup détat originating in the north of the country forced the resignation and exile of President Jean-Bertrand Aristide. A provisional government took control with security provided by the United Nations Stabilization Mission in Haiti, the name Haïti comes from the indigenous Taíno language which was the native name given to the entire island of Hispaniola to mean, land of high mountains. The h is silent in French and the ï in Haïti, is a mark used to show that the second vowel is pronounced separately. In English, this rule for the pronunciation is often disregarded, the name Haïti was restored by Haitian revolutionary Jean-Jacques Dessalines as the official name of independent Saint-Domingue, as a tribute to the Amerindian predecessors. The Taíno name for the island was Haiti. The people had migrated over centuries into the Caribbean islands from South America, genetic studies show they were related to the Yanomami of the Amazon Basin. They also originated in Central and South America, after migrating to Caribbean islands, in the 15th century, the Taíno were pushed into the northeast Caribbean islands by the Caribs. In the Taíno societies of the Caribbean islands, the largest unit of organization was led by a cacique, or chief. The caciquedoms were tributary kingdoms, with payment consisting of harvests, Taíno cultural artifacts include cave paintings in several locations in the country. These have become symbols of Haiti and tourist attractions
13.
Louvre
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The Louvre or the Louvre Museum is the worlds largest museum and a historic monument in Paris, France. A central landmark of the city, it is located on the Right Bank of the Seine in the citys 1st arrondissement, approximately 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square metres. The Louvre is the second most visited museum after the Palace Museum in China. The museum is housed in the Louvre Palace, originally built as a fortress in the late 12th century under Philip II, remnants of the fortress are visible in the basement of the museum. Due to the expansion of the city, the fortress eventually lost its defensive function and. The building was extended many times to form the present Louvre Palace, in 1692, the building was occupied by the Académie des Inscriptions et Belles Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years, during the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nations masterpieces. The museum opened on 10 August 1793 with an exhibition of 537 paintings, because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under Napoleon and the museum renamed Musée Napoléon, the collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic, whether this was the first building on that spot is not known, it is possible that Philip modified an existing tower. According to the authoritative Grand Larousse encyclopédique, the name derives from an association with wolf hunting den, in the 7th century, St. Fare, an abbess in Meaux, left part of her Villa called Luvra situated in the region of Paris to a monastery. This territory probably did not correspond exactly to the modern site, the Louvre Palace was altered frequently throughout the Middle Ages. In the 14th century, Charles V converted the building into a residence and in 1546, Francis acquired what would become the nucleus of the Louvres holdings, his acquisitions including Leonardo da Vincis Mona Lisa. After Louis XIV chose Versailles as his residence in 1682, constructions slowed, however, on 14 October 1750, Louis XV agreed and sanctioned a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. Under Louis XVI, the museum idea became policy. The comte dAngiviller broadened the collection and in 1776 proposed conversion of the Grande Galerie of the Louvre – which contained maps – into the French Museum, many proposals were offered for the Louvres renovation into a museum, however, none was agreed on. Hence the museum remained incomplete until the French Revolution, during the French Revolution the Louvre was transformed into a public museum. In May 1791, the Assembly declared that the Louvre would be a place for bringing together monuments of all the sciences, on 10 August 1792, Louis XVI was imprisoned and the royal collection in the Louvre became national property
14.
Law school
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A law school is an institution specializing in legal education, usually involved as part of a process for becoming a lawyer within a given jurisdiction. Nowadays the legal education consists in a 5-year-long course in which, afterwards, the practice of law is conditioned upon admission to the bar of a particular state or other territorial jurisdiction. Public attorneys, public prossecutors and magistrates admission is made, mainly, through an entrance examination and a constitutional mandatory three years of legal experience. The postgraduation, stricto sensu, consists in a, a) master´s degree, which is usually a two-year degree, and a b) doctorate´s degree, which can take up another four years. The typical law degree required to practice law in Canada is now the Juris Doctor, there is some scholarly content in the coursework. The programs consist of three years, and have content in their mandatory first year courses. Some schools, however, have not switched from LL. B. to the J. D. – one notable university that still awards the LL. B is McGill University. Given that the Canadian legal system includes both the French civil law and the Anglo-American common law, some law schools offer both an LL. B. or J. D. and a B. C. L. LL. L. or LL. B. degree, such as McGill University, University of Ottawa, in particular, McGill University Faculty of Law offers a combined civil law and common law program, which has been called transsystemic. At other faculties, if a person completes a common law degree and this is also true for civil law graduates who wish to complete a common law degree. Despite changes in designation, schools opting for the J. D. have not altered their curricula, neither the J. D. or LL. B. and the École du Barreau du Québec. In France, the education is a three tier system. The student may study for a LLB, then a LLM and, for those interested in Law theory, many French universities offers Law courses in department labelled as Research and Education Units and/or Faculties of Law or Law Schools. Law Degree in Indonesia consists of three tier systems, the first tier is the Degree of which carries the title of Sarjana Hukum/S. H. This can be obtained in 4–7 years after they enter Law School straight from Senior High School, the second tier varies depending on the legal specialties taken after the first tier. The general title for this tier is Magister Hukum / M. H, although it is also common to see other title for secondary tier such as Magister Kenotariatan / M. Kn. for Notarial professionals line of work. The second tier can be obtained normally in 1-2 year, the third tier in Indonesian Law Degree is Doctor / DR. To work in legal professions of choice in Indonesia, a Bachelor Law Degree is obligatory, graduates can pursue their career as Legal in-house counsel, Judge profession, Public Prosecutor, other legal-related work and Advocate
15.
University of Paris
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The University of Paris, metonymically known as the Sorbonne, was a university in Paris, France. Emerging around 1150 as an associated with the cathedral school of Notre Dame de Paris. Vast numbers of popes, royalties, scientists and intellectuals were educated at the University of Paris, following the turbulence of the French Revolution, education was suspended in 1793 whereafter its faculties were partly reorganised by Napoleon as the University of France. In 1896, it was renamed again to the University of Paris, in 1970, following the May 1968 events, the university was divided into 13 autonomous universities. Others, like Panthéon-Sorbonne University, chose to be multidisciplinary, in 1150, the future University of Paris was a student-teacher corporation operating as an annex of the Notre-Dame cathedral school. The university had four faculties, Arts, Medicine, Law, the Faculty of Arts was the lowest in rank, but also the largest, as students had to graduate there in order to be admitted to one of the higher faculties. The students were divided into four nationes according to language or regional origin, France, Normandy, Picardy, the last came to be known as the Alemannian nation. Recruitment to each nation was wider than the names might imply, the faculty and nation system of the University of Paris became the model for all later medieval universities. Under the governance of the Church, students wore robes and shaved the tops of their heads in tonsure, students followed the rules and laws of the Church and were not subject to the kings laws or courts. This presented problems for the city of Paris, as students ran wild, students were often very young, entering the school at age 13 or 14 and staying for 6 to 12 years. Three schools were especially famous in Paris, the palatine or palace school, the school of Notre-Dame, the decline of royalty brought about the decline of the first. The other two were ancient but did not have much visibility in the early centuries, the glory of the palatine school doubtless eclipsed theirs, until it completely gave way to them. These two centres were much frequented and many of their masters were esteemed for their learning, the first renowned professor at the school of Ste-Geneviève was Hubold, who lived in the tenth century. Not content with the courses at Liège, he continued his studies at Paris, entered or allied himself with the chapter of Ste-Geneviève, and attracted many pupils via his teaching. Distinguished professors from the school of Notre-Dame in the century include Lambert, disciple of Fulbert of Chartres, Drogo of Paris, Manegold of Germany. Three other men who added prestige to the schools of Notre-Dame and Ste-Geneviève were William of Champeaux, Abélard, humanistic instruction comprised grammar, rhetoric, dialectics, arithmetic, geometry, music, and astronomy. To the higher instruction belonged dogmatic and moral theology, whose source was the Scriptures and it was completed by the study of Canon law. The School of Saint-Victor arose to rival those of Notre-Dame and Ste-Geneviève and it was founded by William of Champeaux when he withdrew to the Abbey of Saint-Victor
16.
Jean-Auguste-Dominique Ingres
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Jean-Auguste-Dominique Ingres was a French Neoclassical painter. A man profoundly respectful of the past, he assumed the role of a guardian of orthodoxy against the ascendant Romantic style represented by his nemesis. His exemplars, he explained, were the great masters which flourished in that century of glorious memory when Raphael set the eternal. I am thus a conservator of good doctrine, and not an innovator, Ingres was born in Montauban, Tarn-et-Garonne, France, the first of seven children of Jean-Marie-Joseph Ingres and his wife Anne Moulet. From his father the young Ingres received early encouragement and instruction in drawing and music, and his first known drawing, the deficiency in his schooling would always remain for him a source of insecurity. In 1791, Joseph Ingres took his son to Toulouse, where the young Jean-Auguste-Dominique was enrolled in the Académie Royale de Peinture, Sculpture et Architecture, there he studied under the sculptor Jean-Pierre Vigan, the landscape painter Jean Briant, and the neoclassical painter Guillaume-Joseph Roques. Roques veneration of Raphael was an influence on the young artist. Ingres won prizes in several disciplines, such as composition, figure and antique and his musical talent was developed under the tutelage of the violinist Lejeune, and from the ages of thirteen to sixteen he played second violin in the Orchestre du Capitole de Toulouse. Ingres followed his masters neoclassical example but revealed, according to David and his trip to Rome, however, was postponed until 1806, when the financially strained government finally appropriated the travel funds. Working in Paris alongside several other students of David in a provided by the state. He found inspiration in the works of Raphael, in Etruscan vase paintings, in 1802 he made his debut at the Salon with Portrait of a Woman. The following year brought a commission, when Ingres was one of five artists selected to paint full-length portraits of Napoleon Bonaparte as First Consul. These were to be distributed to the towns of Liège, Antwerp, Dunkerque, Brussels. In the summer of 1806 Ingres became engaged to Marie-Anne-Julie Forestier, although he had hoped to stay in Paris long enough to witness the opening of that years Salon, in which he was to display several works, he reluctantly left for Italy just days before the opening. Chaussard condemned Ingress style as gothic and asked, How, with so much talent, a line so flawless, the answer is that he wanted to do something singular, something extraordinary. M. Ingress intention is nothing less than to make art regress by four centuries, to carry us back to its infancy, Ingres stylistic eclecticism represented a new tendency in art. As art historian Marjorie Cohn has written, At the time, Artists and critics outdid each other in their attempts to identify, interpret, and exploit what they were just beginning to perceive as historical stylistic developments. From the beginning of his career, Ingres freely borrowed from earlier art, adopting the style appropriate to his subject
17.
Naples
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Naples is the capital of the Italian region Campania and the third-largest municipality in Italy, after Rome and Milan. In 2015, around 975,260 people lived within the administrative limits. The Metropolitan City of Naples had a population of 3,115,320, Naples is the 9th-most populous urban area in the European Union with a population of between 3 million and 3.7 million. About 4.4 million people live in the Naples metropolitan area, Naples is one of the oldest continuously inhabited cities in the world. Bronze Age Greek settlements were established in the Naples area in the second millennium BC, a larger colony – initially known as Parthenope, Παρθενόπη – developed on the Island of Megaride around the ninth century BC, at the end of the Greek Dark Ages. Naples remained influential after the fall of the Western Roman Empire, thereafter, in union with Sicily, it became the capital of the Two Sicilies until the unification of Italy in 1861. Naples was the most-bombed Italian city during World War II, much of the citys 20th-century periphery was constructed under Benito Mussolinis fascist government, and during reconstruction efforts after World War II. The city has experienced significant economic growth in recent decades, and unemployment levels in the city, however, Naples still suffers from political and economic corruption, and unemployment levels remain high. Naples has the fourth-largest urban economy in Italy, after Milan, Rome and it is the worlds 103rd-richest city by purchasing power, with an estimated 2011 GDP of US$83.6 billion. The port of Naples is one of the most important in Europe, numerous major Italian companies, such as MSC Cruises Italy S. p. A, are headquartered in Naples. The city also hosts NATOs Allied Joint Force Command Naples, the SRM Institution for Economic Research, Naples is a full member of the Eurocities network of European cities. The city was selected to become the headquarters of the European institution ACP/UE and was named a City of Literature by UNESCOs Creative Cities Network, the Villa Rosebery, one of the three official residences of the President of Italy, is located in the citys Posillipo district. Naples historic city centre is the largest in Europe, covering 1,700 hectares and enclosing 27 centuries of history, Naples has long been a major cultural centre with a global sphere of influence, particularly during the Renaissance and Enlightenment eras. In the immediate vicinity of Naples are numerous culturally and historically significant sites, including the Palace of Caserta, culinarily, Naples is synonymous with pizza, which originated in the city. Neapolitan music has furthermore been highly influential, credited with the invention of the romantic guitar, according to CNN, the metro stop Toledo is the most beautiful in Europe and it won also the LEAF Award 2013 as Public building of the year. Naples is the Italian city with the highest number of accredited stars from the Michelin Guide, Naples sports scene is dominated by football and Serie A club S. S. C. Napoli, two-time Italian champions and winner of European trophies, who play at the San Paolo Stadium in the south-west of the city, the Phlegraean Fields around Naples has been inhabited since the Neolithic period. The earliest Greek settlements were established in the Naples area in the second millennium BC, sailors from the Greek island of Rhodes established a small commercial port called Parthenope on the island of Megaride in the ninth century BC
18.
Michelangelo
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Michelangelo di Lodovico Buonarroti Simoni was an Italian sculptor, painter, architect, and poet of the High Renaissance who exerted an unparalleled influence on the development of Western art. Considered to be the greatest living artist during his lifetime, he has since described as one of the greatest artists of all time. A number of Michelangelos works of painting, sculpture, and architecture rank among the most famous in existence and he sculpted two of his best-known works, the Pietà and David, before the age of thirty. As an architect, Michelangelo pioneered the Mannerist style at the Laurentian Library, at the age of 74, he succeeded Antonio da Sangallo the Younger as the architect of St. Peters Basilica. Michelangelo transformed the plan so that the end was finished to his design, as was the dome, with some modification. Michelangelo was unique as the first Western artist whose biography was published while he was alive, in his lifetime he was often called Il Divino. One of the qualities most admired by his contemporaries was his terribilità, the attempts by subsequent artists to imitate Michelangelos impassioned and highly personal style resulted in Mannerism, the next major movement in Western art after the High Renaissance. Michelangelo was born on 6 March 1475 in Caprese near Arezzo, at the time of Michelangelos birth, his father was the Judicial administrator of the small town of Caprese and local administrator of Chiusi. Michelangelos mother was Francesca di Neri del Miniato di Siena, the Buonarrotis claimed to descend from the Countess Mathilde of Canossa, this claim remains unproven, but Michelangelo himself believed it. Several months after Michelangelos birth, the returned to Florence. There Michelangelo gained his love for marble, as Giorgio Vasari quotes him, If there is good in me. Along with the milk of my nurse I received the knack of handling chisel and hammer, as a young boy, Michelangelo was sent to Florence to study grammar under the Humanist Francesco da Urbino. The young artist, however, showed no interest in his schooling, preferring to copy paintings from churches, the city of Florence was at that time the greatest centre of the arts and learning in Italy. Art was sponsored by the Signoria, by the merchant guilds and by patrons such as the Medici. The Renaissance, a renewal of Classical scholarship and the arts, had its first flowering in Florence, the sculptor Lorenzo Ghiberti had laboured for fifty years to create the bronze doors of the Baptistry, which Michelangelo was to describe as The Gates of Paradise. The exterior niches of the Church of Orsanmichele contained a gallery of works by the most acclaimed sculptors of Florence – Donatello, Ghiberti, Andrea del Verrocchio, and Nanni di Banco. The interiors of the churches were covered with frescos, begun by Giotto. During Michelangelos childhood, a team of painters had been called from Florence to the Vatican, among them was Domenico Ghirlandaio, a master in fresco painting, perspective, figure drawing, and portraiture who had the largest workshop in Florence at that period
19.
Raphael
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Raffaello Sanzio da Urbino, known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running a large workshop and, despite his death at 37. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, the best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings and he was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region and his poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Under them, the court continued as a centre for literary culture, growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a humanistic education however, it is unclear how easily he read Latin. His mother Màgia died in 1491 when Raphael was eight, followed on August 1,1494 by his father, Raphael was thus orphaned at eleven, his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master and he had already shown talent, according to Vasari, who says that Raphael had been a great help to his father. A self-portrait drawing from his teenage years shows his precocity and his fathers workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter, and Luca Signorelli, according to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice despite the tears of his mother. The evidence of an apprenticeship comes only from Vasari and another source, an alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters, the Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a master, that is to say fully trained and his first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was named in the commission
20.
Titian
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Tiziano Vecelli or Tiziano Vecellio, known in English as Titian /ˈtɪʃən/, was an Italian painter, the most important member of the 16th-century Venetian school. He was born in Pieve di Cadore, near Belluno, during his lifetime he was often called da Cadore, taken from the place of his birth. His painting methods, particularly in the application and use of color, would exercise a profound influence not only on painters of the Italian Renaissance, during the course of his long life, Titians artistic manner changed drastically, but he retained a lifelong interest in color. Although his mature works may not contain the vivid, luminous tints of his pieces, their loose brushwork. The exact date of Titians birth is uncertain, when he was an old man he claimed in a letter to Philip II, King of Spain, to have been born in 1474, but this seems most unlikely. Other writers contemporary to his old age give figures that would equate to birthdates between 1473 and after 1482 and he was the son of Gregorio Vecelli and his wife Lucia. His father was superintendent of the castle of Pieve di Cadore, Gregorio was also a distinguished councilor and soldier. Many relatives, including Titians grandfather, were notaries, and the family of four were well-established in the area, at the age of about ten to twelve he and his brother Francesco were sent to an uncle in Venice to find an apprenticeship with a painter. At that time the Bellinis, especially Giovanni, were the artists in the city. There Titian found a group of men about his own age, among them Giovanni Palma da Serinalta, Lorenzo Lotto, Sebastiano Luciani. Francesco Vecellio, his brother, later became a painter of some note in Venice. A fresco of Hercules on the Morosini Palace is said to have one of Titians earliest works. Others were the Bellini-esque so-called Gypsy Madonna in Vienna, and the Visitation of Mary and Elizabeth, now in the Accademia, a Man with a Quilted Sleeve is an early portrait, painted around 1509 and described by Giorgio Vasari in 1568. Scholars long believed it depicted Ludovico Ariosto, but now think it is of Gerolamo Barbarigo, Rembrandt borrowed the composition for his self-portraits. Titian joined Giorgione as an assistant, but many contemporary critics found his work more impressive—for example in exterior frescoes that they did for the Fondaco dei Tedeschi. Their relationship evidently contained a significant element of rivalry, distinguishing between their work at this period remains a subject of scholarly controversy. A substantial number of attributions have moved from Giorgione to Titian in the 20th century, one of the earliest known Titian works, Christ Carrying the Cross in the Scuola Grande di San Rocco, depicting the Ecce Homo scene, was long regarded as by Giorgione. In 1507–1508 Giorgione was commissioned by the state to create frescoes on the re-erected Fondaco dei Tedeschi, Titian and Morto da Feltre worked along with him, and some fragments of paintings remain, probably by Giorgione
21.
Renaissance
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The Renaissance was a period in European history, from the 14th to the 17th century, regarded as the cultural bridge between the Middle Ages and modern history. It started as a movement in Italy in the Late Medieval period and later spread to the rest of Europe. This new thinking became manifest in art, architecture, politics, science, Early examples were the development of perspective in oil painting and the recycled knowledge of how to make concrete. Although the invention of movable type sped the dissemination of ideas from the later 15th century. In politics, the Renaissance contributed to the development of the customs and conventions of diplomacy, the Renaissance began in Florence, in the 14th century. Other major centres were northern Italian city-states such as Venice, Genoa, Milan, Bologna, the word Renaissance, literally meaning Rebirth in French, first appeared in English in the 1830s. The word also occurs in Jules Michelets 1855 work, Histoire de France, the word Renaissance has also been extended to other historical and cultural movements, such as the Carolingian Renaissance and the Renaissance of the 12th century. The Renaissance was a movement that profoundly affected European intellectual life in the early modern period. Renaissance scholars employed the humanist method in study, and searched for realism, however, a subtle shift took place in the way that intellectuals approached religion that was reflected in many other areas of cultural life. In addition, many Greek Christian works, including the Greek New Testament, were back from Byzantium to Western Europe. Political philosophers, most famously Niccolò Machiavelli, sought to describe life as it really was. Others see more competition between artists and polymaths such as Brunelleschi, Ghiberti, Donatello, and Masaccio for artistic commissions as sparking the creativity of the Renaissance. Yet it remains much debated why the Renaissance began in Italy, accordingly, several theories have been put forward to explain its origins. During the Renaissance, money and art went hand in hand, Artists depended entirely on patrons while the patrons needed money to foster artistic talent. Wealth was brought to Italy in the 14th, 15th, and 16th centuries by expanding trade into Asia, silver mining in Tyrol increased the flow of money. Luxuries from the Eastern world, brought home during the Crusades, increased the prosperity of Genoa, unlike with Latin texts, which had been preserved and studied in Western Europe since late antiquity, the study of ancient Greek texts was very limited in medieval Western Europe. One of the greatest achievements of Renaissance scholars was to bring this entire class of Greek cultural works back into Western Europe for the first time since late antiquity, Arab logicians had inherited Greek ideas after they had invaded and conquered Egypt and the Levant. Their translations and commentaries on these ideas worked their way through the Arab West into Spain and Sicily and this work of translation from Islamic culture, though largely unplanned and disorganized, constituted one of the greatest transmissions of ideas in history
22.
Paris Salon
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The Salon, or rarely Paris Salon, beginning in 1667 was the official art exhibition of the Académie des Beaux-Arts in Paris. Between 1748 and 1890 it was arguably the greatest annual or biennial art event in the Western world, at the 1761 Salon, thirty-three painters, nine sculptors, and eleven engravers contributed. From 1881 onward, it has been managed by the Société des Artistes Français, in 1667, the royally sanctioned French institution of art patronage, the Académie royale de peinture et de sculpture, held its first semi-public art exhibit at the Salon Carré. The Salons original focus was the display of the work of recent graduates of the École des Beaux-Arts, exhibition at the Salon de Paris was essential for any artist to achieve success in France for at least the next 200 years. Exhibition in the Salon marked a sign of royal favor, in 1725, the Salon was held in the Palace of the Louvre, when it became known as Salon or Salon de Paris. In 1737, the exhibitions, held from 18 August 1737 to 5 September 1737 at the Grand Salon of the Louvre and they were held, at first, annually, and then biennially, in odd-numbered years. They would start on the feast day of St. Louis, once made regular and public, the Salons status was never seriously in doubt. In 1748 a jury of awarded artists was introduced, from this time forward, the influence of the Salon was undisputed. The Salon exhibited paintings floor-to-ceiling and on every inch of space. The jostling of artwork became the subject of other paintings. Printed catalogues of the Salons are primary documents for art historians, critical descriptions of the exhibitions published in the gazettes mark the beginning of the modern occupation of art critic. The French revolution opened the exhibition to foreign artists, the vernissage of opening night was a grand social occasion, and a crush that gave subject matter to newspaper caricaturists like Honoré Daumier. Charles Baudelaire, Denis Diderot and others wrote reviews of the Salons, the 1848 revolution liberalized the Salon. The amount of refused works was greatly reduced, the increasingly conservative and academic juries were not receptive to the Impressionist painters, whose works were usually rejected, or poorly placed if accepted. The Salon opposed the Impressionists shift away from traditional painting styles, in 1863 the Salon jury turned away an unusually high number of the submitted paintings. An uproar resulted, particularly from regular exhibitors who had been rejected, in order to prove that the Salons were democratic, Napoleon III instituted the Salon des Refusés, containing a selection of the works that the Salon had rejected that year. It opened on 17 May 1863, marking the birth of the avant-garde, the Impressionists held their own independent exhibitions in 1874,1876,1877,1879,1880,1881,1882 and 1886. In 1881, the government withdrew official sponsorship from the annual Salon, in December 1890, the leader of the Société des Artistes Français, William-Adolphe Bouguereau, propagated the idea that Salon should be an exhibition of young, not-yet awarded, artists
23.
Normandy
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Normandy is one of the regions of France, roughly corresponding to the historical Duchy of Normandy. Administratively, Normandy is divided into five departments, Calvados, Eure, Manche, Orne and it covers 30,627 km², forming roughly 5% of the territory of France. Its population of 3.37 million accounts for around 5% of the population of France, Normans is the name given to the inhabitants of Normandy, and the region is the homeland of the Norman language. The historical region of Normandy comprised the region of Normandy, as well as small areas now part of the départements, or departments of Mayenne. For a century and a following the Norman conquest of England in 1066, Normandy and England were linked by Norman. Archaeological finds, such as paintings, prove that humans were present in the region in prehistoric times. Celts invaded Normandy in successive waves from the 4th to the 3rd century BC, when Julius Caesar invaded Gaul, there were nine different Celtic tribes living in Normandy. The Romanisation of Normandy was achieved by the methods, Roman roads. Classicists have knowledge of many Gallo-Roman villas in Normandy, in the late 3rd century, barbarian raids devastated Normandy. Coastal settlements were raided by Saxon pirates, Christianity also began to enter the area during this period. In 406, Germanic tribes began invading from the east, while the Saxons subjugated the Norman coast, the Roman Emperor withdrew from most of Normandy. As early as 487, the area between the River Somme and the River Loire came under the control of the Frankish lord Clovis, the Vikings started to raid the Seine Valley during the middle of the 9th century. As early as 841, a Viking fleet appeared at the mouth of the Seine, after attacking and destroying monasteries, including one at Jumièges, they took advantage of the power vacuum created by the disintegration of Charlemagnes empire to take northern France. The fiefdom of Normandy was created for the Norwegian Viking leader Hrólfr Ragnvaldsson, Rollo had besieged Paris but in 911 entered vassalage to the king of the West Franks, Charles the Simple, through the Treaty of Saint-Clair-sur-Epte. In exchange for his homage and fealty, Rollo legally gained the territory which he, the name Normandy reflects Rollos Viking origins. The descendants of Rollo and his followers adopted the local Gallo-Romance language and they became the Normans – a Norman-speaking mixture of Saxons and indigenous Franks and Celts. Besides the Norman conquest of England and the subsequent conquests of Wales and Ireland, Norman families, such as that of Tancred of Hauteville, Rainulf Drengot and Guimond de Moulins played important parts in the Norman conquest of southern Italy and Crusades. They also carved out a place for themselves and their descendants in the Crusader states of Asia Minor, the 14th century Norman explorer Jean de Béthencourt established a kingdom in the Canary Islands
24.
Franco-Prussian War
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The conflict was caused by Prussian ambitions to extend German unification and French fears of the shift in the European balance of power that would result if the Prussians succeeded. On 16 July 1870, the French parliament voted to declare war on the German Kingdom of Prussia, the German coalition mobilised its troops much more quickly than the French and rapidly invaded northeastern France. The German forces were superior in numbers, had training and leadership and made more effective use of modern technology, particularly railroads. The German states proclaimed their union as the German Empire under the Prussian king Wilhelm I, the Treaty of Frankfurt of 10 May 1871 gave Germany most of Alsace and some parts of Lorraine, which became the Imperial territory of Alsace-Lorraine. French determination to regain Alsace-Lorraine and fear of another Franco-German war, along with British apprehension about the balance of power, the causes of the Franco-Prussian War are deeply rooted in the events surrounding the unification of Germany. In the aftermath of the Austro-Prussian War of 1866, Prussia had annexed numerous territories and this new power destabilized the European balance of power established by the Congress of Vienna in 1815 after the Napoleonic Wars. France was strongly opposed to any further alliance of German states, in Prussia, some officials considered a war against France both inevitable and necessary to arouse German nationalism in those states that would allow the unification of a great German empire. Bismarck also knew that France should be the aggressor in the conflict to bring the southern German states to side with Prussia, many Germans also viewed the French as the traditional destabilizer of Europe, and sought to weaken France to prevent further breaches of the peace. The immediate cause of the war resided in the candidacy of Leopold of Hohenzollern-Sigmaringen, France feared encirclement by an alliance between Prussia and Spain. The Hohenzollern princes candidacy was withdrawn under French diplomatic pressure, releasing the Ems Dispatch to the public, Bismarck made it sound as if the king had treated the French envoy in a demeaning fashion, which inflamed public opinion in France. They also argue that he wanted a war to resolve growing domestic political problems, other historians, notably French historian Pierre Milza, dispute this. According to Milza, the Emperor had no need for a war to increase his popularity, the Ems telegram had exactly the effect on French public opinion that Bismarck had intended. This text produced the effect of a red flag on the Gallic bull, gramont, the French foreign minister, declared that he felt he had just received a slap. Napoleons new prime minister, Emile Ollivier, declared that France had done all that it could humanly and honorably do to prevent the war, a crowd of 15–20,000 people, carrying flags and patriotic banners, marched through the streets of Paris, demanding war. On 19 July 1870 a declaration of war was sent to the Prussian government, the southern German states immediately sided with Prussia. The French Army consisted in peacetime of approximately 400,000 soldiers, some of them were veterans of previous French campaigns in the Crimean War, Algeria, the Franco-Austrian War in Italy, and in the Mexican campaign. Under Marshal Adolphe Niel, urgent reforms were made, universal conscription and a shorter period of service gave increased numbers of reservists, who would swell the army to a planned strength of 800,000 on mobilisation. Those who for any reason were not conscripted were to be enrolled in the Garde Mobile, however, the Franco-Prussian War broke out before these reforms could be completely implemented
25.
A Cotton Office in New Orleans
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A Cotton Office in New Orleans is an 1873 oil painting by Edgar Degas. In it, Degas depicts his uncle Michel Mussons cotton brokerage business, in the painting, Musson is seen examining raw cotton for its quality while Degas brother Rene reads The Daily Picayune. Another brother, Achille, rests against a wall at left while others, including Mussons partners. A Cotton Office in New Orleans was the first painting by Degas to be purchased by a museum, Degas traveled from Europe to New Orleans in late 1872 with his brother, René, to visit his mothers brother, Michael Musson. After the American Civil War, René had joined his uncles business in New Orleans. Degas crafted his work with the intent of selling it to a British textile manufacturer, but a drop in stock prices worldwide and declines in the cotton and art markets ended his hopes for that specific sale. Degas then exhibited A Cotton Office in New Orleans in the second Impressionist show in Paris in 1876, Degas finally sold the painting in 1878 to the newly founded Musee des Beaux-Arts in Pau, France. The painting is sometimes referred to as The Cotton Exchange at New Orleans. Brown, Marilyn R. Degas and the Business of Art, impressionism, a centenary exhibition, the Metropolitan Museum of Art, December 12, 1974-February 10,1975, fully digitized text from The Metropolitan Museum of Art libraries
26.
Esplanade Avenue, New Orleans
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Esplanade Avenue is a historic street in New Orleans, Louisiana. It runs northwest from the Mississippi River to the statue of General P. G. T, Beauregard in Beauregard Circle at the entrance to City Park. Esplanade Avenue was an important 19th century portage route of trade between the Bayou which linked to Lake Pontchartrain and the River, Esplanade Avenue is the dividing line between the 6th Ward and 7th Ward of New Orleans. From the River to Claiborne Avenue, Esplanade has one lane of traffic in both directions, with a neutral ground in the center. From Claiborne to Carrollton it has two lanes in each direction, with a neutral ground. The segment from the River to Rampart Street separates the French Quarter from the Faubourg Marigny, near the river on the French Quarter side is the old New Orleans Mint building. Passing by the Faubourg Treme neighborhood, Esplanade goes through the area known alternatively as Faubourg St. John or Esplanade Ridge, the house where Edgar Degas stayed during his time in New Orleans is in this section. Just past Carrollton Avenue is the entrance to the New Orleans Museum of Art, New Orleans Architecture, The Esplanade Ridge
27.
Claude Monet
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Monets ambition of documenting the French countryside led him to adopt a method of painting the same scene many times in order to capture the changing of light and the passing of the seasons. From 1883 Monet lived in Giverny, where he purchased a house and property, Claude Monet was born on 14 November 1840 on the fifth floor of 45 rue Laffitte, in the 9th arrondissement of Paris. He was the son of Claude Adolphe Monet and Louise Justine Aubrée Monet. On 20 May 1841, he was baptized in the parish church, Notre-Dame-de-Lorette, as Oscar-Claude. Despite being baptized Catholic, Monet later became an atheist, in 1845, his family moved to Le Havre in Normandy. His father wanted him to go into the familys ship-chandling and grocery business and his mother was a singer, and supported Monets desire for a career in art. On 1 April 1851, Monet entered Le Havre secondary school of the arts, locals knew him well for his charcoal caricatures, which he would sell for ten to twenty francs. Monet also undertook his first drawing lessons from Jacques-François Ochard, a student of Jacques-Louis David. On the beaches of Normandy around 1856 he met fellow artist Eugène Boudin, Boudin taught Monet en plein air techniques for painting. Both received the influence of Johan Barthold Jongkind, on 28 January 1857, his mother died. At the age of sixteen, he left school and went to live with his widowed, childless aunt, when Monet traveled to Paris to visit the Louvre, he witnessed painters copying from the old masters. Having brought his paints and other tools with him, he would go and sit by a window. Monet was in Paris for several years and met other painters, including Édouard Manet and others who would become friends. After drawing a low number in March 1861, Monet was drafted into the First Regiment of African Light Cavalry in Algeria for a seven-year period of military service. His prosperous father could have purchased Monets exemption from conscription but declined to do so when his son refused to give up painting. While in Algeria Monet did only a few sketches of scenes, a single landscape. In a Le Temps interview of 1900 however he commented that the light, after about a year of garrison duty in Algiers, Monet contracted typhoid fever and briefly went absent without leave. Following convalescence, Monets aunt intervened to get him out of the army if he agreed to complete a course at an art school and it is possible that the Dutch painter Johan Barthold Jongkind, whom Monet knew, may have prompted his aunt on this matter
28.
Jean-Louis Forain
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Jean-Louis Forain was a French Impressionist painter, lithographer, watercolorist and etcher. Forain was born in Reims, Marne but at age eight and he began his career working as a caricaturist for several Paris journals including Le Monde Parisien and Le rire satirique. Wanting to expand his horizons, he enrolled at the École des Beaux Arts, studying under Jean-Léon Gérôme as well as another sculptor/painter, Forains quick and often biting wit allowed him to befriend poets Arthur Rimbaud and Paul Verlaine as well as many writers, most notably Joris-Karl Huysmans. He was one of seven known recipients to receive a first edition of A Season in Hell directly from Rimbaud. He was the youngest artist to frequent and participate in the debates led by Édouard Manet. From 1898 -1899 Forain worked as an illustrator for the weekly French magazine Psst, a satirical publication to promote the anti-Dreyfus cause and contributed anti-semitic caricatures. In 1891 Forain married the painter Jeanne Bosc with whom he had a son, Jean-Loup, during the first World War, Forains illustrations honored the patriotism of his contemporaries, and he enlisted in the Section de Camouflage under Lucien-Victor Guirand de Scévola. In his later years, Forain created numerous scenes of the Law Courts and other Parisian institutions plus social satire caricatures on late 19th, in 1931, shortly before his death, he was made a member of the Royal Academy of Arts in London. Followers and admirers of Forains work include Henri de Toulouse-Lautrec, robb, Graham, Rimbaud, New York, W. W. Norton & Co, ISBN 978-0330482820 Jean-Louis Forain exhibition catalogs Metropolitan Museum of Art Degas, The Artists Mind, online exhibition catalog
29.
El Greco
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Doménikos Theotokópoulos, most widely known as El Greco, was a painter, sculptor and architect of the Spanish Renaissance. El Greco was a nickname, a reference to his Greek origin, El Greco was born in Crete, which was at that time part of the Republic of Venice, and the center of Post-Byzantine art. He trained and became a master within that tradition before traveling at age 26 to Venice, in 1570 he moved to Rome, where he opened a workshop and executed a series of works. During his stay in Italy, El Greco enriched his style elements of Mannerism. In 1577, he moved to Toledo, Spain, where he lived and worked until his death, in Toledo, El Greco received several major commissions and produced his best-known paintings. El Grecos dramatic and expressionistic style was met with puzzlement by his contemporaries, El Greco has been characterized by modern scholars as an artist so individual that he belongs to no conventional school. He is best known for tortuously elongated figures and often fantastic or phantasmagorical pigmentation, El Grecos father, Geórgios Theotokópoulos, was a merchant and tax collector. Nothing is known about his mother or his first wife, also Greek, El Grecos older brother, Manoússos Theotokópoulos, was a wealthy merchant and spent the last years of his life in El Grecos Toledo home. El Greco received his training as an icon painter of the Cretan school. In 1563, at the age of twenty-two, El Greco was described in a document as a master, meaning he was already a master of the guild and presumably operating his own workshop. Three years later, in June 1566, as a witness to a contract, most scholars believe that the Theotokópoulos family was almost certainly Greek Orthodox, although some Catholic sources still claim him from birth. One of his uncles was an Orthodox priest, and his name is not mentioned in the Catholic archival baptismal records on Crete, prevelakis goes even further, expressing his doubt that El Greco was ever a practicing Roman Catholic. Important for his biography, El Greco, still in Crete, painted his Dormition of the Virgin near the end of his Cretan period. Three other signed works of Doménicos are attributed to El Greco, in 1563, at the age of twenty-two, El Greco was already an enrolled master of the local guild, presumably in charge of his own workshop. He left for Venice a few later, and never returned to Crete. His Dormition of the Virgin, of before 1567 in tempera, the painting combines post-Byzantine and Italian Mannerist stylistic and iconographic elements, and incorporates stylistic elements of the Cretan School. It was natural for the young El Greco to pursue his career in Venice, though the exact year is not clear, most scholars agree that El Greco went to Venice around 1567. Knowledge of El Grecos years in Italy is limited and this may mean he worked in Titians large studio, or not
30.
Camille Pissarro
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Camille Pissarro was a Danish-French Impressionist and Neo-Impressionist painter born on the island of St Thomas. His importance resides in his contributions to both Impressionism and Post-Impressionism, Pissarro studied from great forerunners, including Gustave Courbet and Jean-Baptiste-Camille Corot. He later studied and worked alongside Georges Seurat and Paul Signac when he took on the Neo-Impressionist style at the age of 54, in 1873 he helped establish a collective society of fifteen aspiring artists, becoming the pivotal figure in holding the group together and encouraging the other members. Cézanne said he was a father for me, a man to consult and a little like the good Lord, and he was also one of Gauguins masters. Renoir referred to his work as revolutionary, through his portrayals of the common man. Pissarro is the only artist to have shown his work at all eight Paris Impressionist exhibitions and he acted as a father figure not only to the Impressionists but to all four of the major Post-Impressionists, including Georges Seurat, Paul Cézanne, Vincent van Gogh and Paul Gauguin. Jacob Abraham Camille Pissarro was born on 10 July 1830 on the island of St. Thomas to Frederick and his father was of Portuguese Jewish descent and held French nationality. His mother was from a French-Jewish family from the island of St. Thomas and his father was a merchant who came to the island from France to deal with the hardware store of a deceased uncle and married his widow. The marriage caused a stir within St. Thomas small Jewish community because she was married to Fredericks uncle. In subsequent years his four children were forced to attend the primary school. Upon his death, his will specified that his estate be split equally between the synagogue and St. Thomas Protestant church, when Camille was twelve his father sent him to boarding school in France. He studied at the Savary Academy in Passy near Paris, while a young student, he developed an early appreciation of the French art masters. Monsieur Savary himself gave him a grounding in drawing and painting and suggested he draw from nature when he returned to St. Thomas. However, his father preferred he work in his business, giving him a job working as a cargo clerk and he took every opportunity during those next five years at the job to practise drawing during breaks and after work. When he turned twenty-one, Danish artist Fritz Melbye, then living on St. Thomas, inspired Pissarro to take on painting as a profession, becoming his teacher. Pissarro then chose to leave his family and job and live in Venezuela and he drew everything he could, including landscapes, village scenes, and numerous sketches, enough to fill up multiple sketchbooks. In 1855 he moved back to Paris where he working as assistant to Anton Melbye. In Paris he worked as assistant to Danish painter Anton Melbye and he also studied paintings by other artists whose style impressed him, Courbet, Charles-François Daubigny, Jean-François Millet, and Corot
31.
Paul Gauguin
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Eugène Henri Paul Gauguin was a French post-Impressionist artist. Underappreciated until after his death, Gauguin is now recognized for his use of color. His work was influential to the French avant-garde and many artists, such as Pablo Picasso. Many of his paintings were in the possession of Russian collector Sergei Shchukin and he was an important figure in the Symbolist movement as a painter, sculptor, printmaker, ceramist, and writer. He was also a proponent of wood engraving and woodcuts as art forms. Gauguin was born in Paris, France to Clovis Gauguin and Alina Maria Chazal on June 7,1848 and his birth coincided with revolutionary upheavals throughout Europe that year. His father, a 34-year-old liberal journalist, came from a family of petit-bourgeoisie entrepreneurs residing in Orléans and he was compelled to flee France when the newspaper for which he wrote was suppressed by French authorities. Gauguins mother, the 22-year-old Aline Marie Chazal, was the daughter of Andre Chazal, an engraver, and Flora Tristan and their union ended when Andre assaulted his wife Flora and was sentenced to prison for attempted murder. Paul Gauguins maternal grandmother, Flora Tristan, was the daughter of Thérèse Laisnay. Details of Thérèses family background are not known, her father, Don Mariano, was a Spanish nobleman, members of the wealthy Tristan Moscoso family held powerful positions in Peru. Nonetheless, Don Marianos unexpected death plunged his mistress and daughter Flora into poverty, when Floras marriage with Andre failed, she petitioned for and obtained a small monetary settlement from her fathers Peruvian relatives. She sailed to Peru in hopes of enlarging her share of the Tristan Moscoso family fortune and this never materialized, but she successfully published a popular travelogue of her experiences in Peru which launched her literary career in 1838. An active supporter of early socialist societies, Gauguins maternal grandmother helped to lay the foundations for the 1848 revolutionary movements, placed under surveillance by French police and suffering from overwork, she died in 1844. Her grandson Paul idolized his grandmother, and kept copies of her books with him to the end of his life. In 1850, Clovis Gauguin departed for Peru with his wife Alina and he died of a heart attack en route, and Alina arrived in Peru a widow with the 18-month-old Paul and his 2 ½ year-old sister, Marie. Gauguins mother was welcomed by her granduncle, whose son-in-law would shortly assume the presidency of Peru. To the age of six, Paul enjoyed an upbringing, attended by nursemaids. He retained a vivid memory of period of his childhood which instilled indelible impressions of Peru that haunted him the rest of his life
32.
Van Gogh
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Vincent Willem van Gogh was a Dutch Post-Impressionist painter who is among the most famous and influential figures in the history of Western art. In just over a decade he created about 2,100 artworks, including around 860 oil paintings and his suicide at 37 followed years of mental illness and poverty. Born into a family, Van Gogh drew as a child and was serious, quiet. As a young man he worked as an art dealer, often travelling and he turned to religion, and spent time as a Protestant missionary in southern Belgium. He drifted in ill health and solitude before taking up painting in 1881 and his younger brother Theo supported him financially, and the two kept up a long correspondence by letter. His early works, mostly still lifes and depictions of peasant labourers, in 1886 he moved to Paris, where he met members of the avant-garde, including Émile Bernard and Paul Gauguin, who were reacting against the Impressionist sensibility. As his work developed he created a new approach to still lifes and his paintings grew brighter in colour as he developed a style that became fully realised during his stay in Arles in the south of France in 1888. During this period he broadened his subject matter to include trees, cypresses, wheat fields. Van Gogh suffered from episodes and delusions and though he worried about his mental stability, he often neglected his physical health, did not eat properly. His friendship with Gauguin ended after a confrontation with a razor and he spent time in psychiatric hospitals, including a period at Saint-Rémy. After he discharged himself and moved to the Auberge Ravoux in Auvers-sur-Oise near Paris and his depression continued and on 27 July 1890, Van Gogh shot himself in the chest with a revolver. He died from his injuries two days later, Van Gogh was unsuccessful during his lifetime, and was considered a madman and a failure. He became famous after his suicide, and exists in the imagination as the quintessential misunderstood genius. His reputation began to grow in the early 20th century as elements of his style came to be incorporated by the Fauves. The most comprehensive source on Van Gogh is the correspondence between him and his younger brother, Theo. Their lifelong friendship, and most of what is known of Vincents thoughts, Theo van Gogh was an art dealer and provided his brother with financial and emotional support, and access to influential people on the contemporary art scene. Theo kept all of Vincents letters to him, Vincent kept few of the letters he received, after both had died, Theos widow Johanna arranged for the publication of some of their letters. A few appeared in 1906 and 1913, the majority were published in 1914, Vincents letters are eloquent and expressive and have been described as having a diary-like intimacy, and read in parts like autobiography
33.
Jean Auguste Dominique Ingres
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Jean-Auguste-Dominique Ingres was a French Neoclassical painter. A man profoundly respectful of the past, he assumed the role of a guardian of orthodoxy against the ascendant Romantic style represented by his nemesis. His exemplars, he explained, were the great masters which flourished in that century of glorious memory when Raphael set the eternal. I am thus a conservator of good doctrine, and not an innovator, Ingres was born in Montauban, Tarn-et-Garonne, France, the first of seven children of Jean-Marie-Joseph Ingres and his wife Anne Moulet. From his father the young Ingres received early encouragement and instruction in drawing and music, and his first known drawing, the deficiency in his schooling would always remain for him a source of insecurity. In 1791, Joseph Ingres took his son to Toulouse, where the young Jean-Auguste-Dominique was enrolled in the Académie Royale de Peinture, Sculpture et Architecture, there he studied under the sculptor Jean-Pierre Vigan, the landscape painter Jean Briant, and the neoclassical painter Guillaume-Joseph Roques. Roques veneration of Raphael was an influence on the young artist. Ingres won prizes in several disciplines, such as composition, figure and antique and his musical talent was developed under the tutelage of the violinist Lejeune, and from the ages of thirteen to sixteen he played second violin in the Orchestre du Capitole de Toulouse. Ingres followed his masters neoclassical example but revealed, according to David and his trip to Rome, however, was postponed until 1806, when the financially strained government finally appropriated the travel funds. Working in Paris alongside several other students of David in a provided by the state. He found inspiration in the works of Raphael, in Etruscan vase paintings, in 1802 he made his debut at the Salon with Portrait of a Woman. The following year brought a commission, when Ingres was one of five artists selected to paint full-length portraits of Napoleon Bonaparte as First Consul. These were to be distributed to the towns of Liège, Antwerp, Dunkerque, Brussels. In the summer of 1806 Ingres became engaged to Marie-Anne-Julie Forestier, although he had hoped to stay in Paris long enough to witness the opening of that years Salon, in which he was to display several works, he reluctantly left for Italy just days before the opening. Chaussard condemned Ingress style as gothic and asked, How, with so much talent, a line so flawless, the answer is that he wanted to do something singular, something extraordinary. M. Ingress intention is nothing less than to make art regress by four centuries, to carry us back to its infancy, Ingres stylistic eclecticism represented a new tendency in art. As art historian Marjorie Cohn has written, At the time, Artists and critics outdid each other in their attempts to identify, interpret, and exploit what they were just beginning to perceive as historical stylistic developments. From the beginning of his career, Ingres freely borrowed from earlier art, adopting the style appropriate to his subject
34.
Pierre-Auguste Renoir
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Pierre-Auguste Renoir, commonly known as Auguste Renoir, was a French artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty and especially feminine sensuality, it has said that Renoir is the final representative of a tradition which runs directly from Rubens to Watteau. He was the father of actor Pierre Renoir, filmmaker Jean Renoir and he was the grandfather of the filmmaker Claude Renoir, son of Pierre. Pierre-Auguste Renoir was born in Limoges, Haute-Vienne, France, in 1841 and his father, Léonard Renoir, was a tailor of modest means, so in 1844, Renoirs family moved to Paris in search of more favorable prospects. The location of their home, in rue d’Argenteuil in central Paris, although the young Renoir had a natural proclivity for drawing, he exhibited a greater talent for singing. His talent was encouraged by his teacher, Charles Gounod, who was the choir-master at the Church of St Roch at the time. However, due to the financial circumstances, Renoir had to discontinue his music lessons. Although Renoir displayed a talent for his work, he tired of the subject matter. The owner of the factory recognized his apprentice’s talent and communicated this to Renoir’s family, following this, Renoir started taking lessons to prepare for entry into Ecole des Beaux Arts. When the porcelain factory adopted mechanical reproduction processes in 1858, Renoir was forced to other means to support his learning. Before he enrolled in art school, he also painted hangings for overseas missionaries, in 1862, he began studying art under Charles Gleyre in Paris. There he met Alfred Sisley, Frédéric Bazille, and Claude Monet, at times, during the 1860s, he did not have enough money to buy paint. Renoir had his first success at the Salon of 1868 with his painting Lise with a Parasol, although Renoir first started exhibiting paintings at the Paris Salon in 1864, recognition was slow in coming, partly as a result of the turmoil of the Franco-Prussian War. This loss of a favorite painting location resulted in a change of subjects. Renoir was inspired by the style and subject matter of modern painters Camille Pissarro. Although the critical response to the exhibition was largely unfavorable, Renoirs work was well received. That same year, two of his works were shown with Durand-Ruel in London, hoping to secure a livelihood by attracting portrait commissions, Renoir displayed mostly portraits at the second Impressionist exhibition in 1876. He contributed a diverse range of paintings the next year when the group presented its third exhibition, they included Dance at Le Moulin de la Galette
35.
Dreyfus Affair
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The Dreyfus Affair was a political scandal that divided the Third French Republic from 1894 until its resolution in 1906. The affair is often seen as a modern and universal symbol of injustice, the major role played by the press and public opinion proved influential in the lasting social conflict. The scandal began in December 1894, with the conviction of Captain Alfred Dreyfus. After high-ranking military officials suppressed the new evidence, a military court unanimously acquitted Esterházy after a trial lasting two days. The Army then accused Dreyfus with additional charges based on falsified documents, activists put pressure on the government to reopen the case. In 1899, Dreyfus was returned to France for another trial, the new trial resulted in another conviction and a 10-year sentence, but Dreyfus was given a pardon and set free. Eventually all the accusations against Dreyfus were demonstrated to be baseless, in 1906 Dreyfus was exonerated and reinstated as a major in the French Army. He served during the whole of World War I, ending his service with the rank of lieutenant-colonel, the affair from 1894 to 1906 divided France deeply and lastingly into two opposing camps, the pro-Army, mostly Catholic anti-Dreyfusards and the anticlerical, pro-republican Dreyfusards. It embittered French politics and encouraged radicalization, the museum created an online platform in 2006 dedicated to the Dreyfus Affair, giving the public access to these documents. After a closed trial, he was guilty of treason. He was deported to Devils Island, at that time, the opinion of the French political class was unanimously unfavourable towards Dreyfus. Certain of the injustice of the sentence, the family of the Captain, through his brother Mathieu, meanwhile Colonel Georges Picquart, head of counter-espionage, found evidence in March 1896 indicating that the real traitor was Major Ferdinand Walsin Esterházy. The General Staff, however, refused to reconsider its judgment, in July 1897 his family contacted the President of the Senate Auguste Scheurer-Kestner to draw attention to the tenuousness of the evidence against Dreyfus. Scheurer-Kestner reported three months later that he was convinced of the innocence of Dreyfus and also persuaded Georges Clemenceau, in the same month, Mathieu Dreyfus complained to the Ministry of War against Walsin-Esterházy. A Dreyfusard declaration that rallied many intellectuals to Dreyfus cause, France became increasingly divided over the case, and the issue continued to be hotly debated until the end of the century. Antisemitic riots erupted in more than twenty French cities, There were several deaths in Algiers. The Republic was shaken, which prompted a sense that the Dreyfus Affair had to be resolved to restore calm, despite increasingly robust evidence to the contrary, Dreyfus was convicted again and sentenced to ten years of hard labour, though the sentence was commuted due to extenuating circumstances. Exhausted by his deportation for four years, Dreyfus accepted the presidential pardon granted by President Émile Loubet
36.
Antisemitism
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Antisemitism is hostility, prejudice, or discrimination directed against Jews. A person who holds such positions is called an antisemite, Antisemitism is generally considered to be a form of racism. The root word Semite gives the impression that antisemitism is directed against all Semitic people. However, the compound word antisemite was popularized in Germany in 1879 as a term for Judenhass Jew-hatred. Although the term did not come into common usage until the 19th century, the origin of antisemitic terminologies is found in the responses of Moritz Steinschneider to the views of Ernest Renan. As Alex Bein writes, The compound anti-Semitism appears to have been used first by Steinschneider, avner Falk similarly writes, The German word antisemitisch was first used in 1860 by the Austrian Jewish scholar Moritz Steinschneider in the phrase antisemitische Vorurteile. Steinschneider used this phrase to characterise the French philosopher Ernest Renans false ideas about how Semitic races were inferior to Aryan races and he coined the phrase the Jews are our misfortune which would later be widely used by Nazis. According to Jonathan M. Hess, the term was used by its authors to stress the radical difference between their own antisemitism and earlier forms of antagonism toward Jews and Judaism. In 1879 German journalist Wilhelm Marr published a pamphlet, Der Sieg des Judenthums über das Germanenthum, vom nicht confessionellen Standpunkt aus betrachtet in which he used the word Semitismus interchangeably with the word Judentum to denote both Jewry and jewishness. The pamphlet became very popular, and in the year he founded the Antisemiten-Liga. The Jewish Encyclopedia reports, In February 1881, a correspondent of the Allgemeine Zeitung des Judentums speaks of Anti-Semitism as a designation which recently came into use, on 19 July 1882, the editor says, This quite recent Anti-Semitism is hardly three years old. The related term philosemitism was coined around 1885, from the outset the term anti-Semitism bore special racial connotations and meant specifically prejudice against Jews. The term is confusing, for in modern usage Semitic designates a language group, though antisemitism has been used to describe bigotry against people who speak other Semitic languages, the validity of such usage has been questioned. The term may be spelled with or without a hyphen, for example, Emil Fackenheim supported the unhyphenated spelling, in order to the notion that there is an entity Semitism which anti-Semitism opposes. Objections to the usage of the term, such as the nature of the term Semitic as a racial term, have been raised since at least the 1930s. Because of this bad nature, Jews have to be not as individuals. Jews remain essentially alien in the surrounding societies, Jews bring disaster on their host societies or on the whole world, they are doing it secretly, therefore the anti-Semites feel obliged to unmask the conspiratorial, bad Jewish character. It was anti-liberal, racialist and nationalist, bernard Lewis defines antisemitism as a special case of prejudice, hatred, or persecution directed against people who are in some way different from the rest
37.
Pastel
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A pastel is an art medium in the form of a stick, consisting of pure powdered pigment and a binder. The pigments used in pastels are the same as used to produce all colored art media, including oil paints. The color effect of pastels is closer to the natural dry pigments than that of any other process, Pastels have been used by artists since the Renaissance, and gained considerable popularity in the 18th century, when a number of notable artists made pastel their primary medium. An artwork made using pastels is called a pastel, Pastel used as a verb means to produce an artwork with pastels, as an adjective it means pale in color. Pastel sticks or crayons consist of powdered pigment combined with a binder. The exact composition and characteristics of an individual pastel stick depends on the type of pastel and it also varies by individual manufacturer. Dry pastels have historically used binders such as gum arabic and gum tragacanth, methyl cellulose was introduced as a binder in the twentieth century. Often a chalk or gypsum component is present and they are available in varying degrees of hardness, the softer varieties being wrapped in paper. Some pastel brands use pumice in the binder to abrade the paper, dry pastel media can be subdivided as follows, Soft pastels, This is the most widely used form of pastel. The sticks have a portion of pigment and less binder. The drawing can be readily smudged and blended, but it results in a proportion of dust. White chalk may be used as a filler in producing pale, Pan Pastels, These are formulated with a minimum of binder in flat compacts and applied with special Soft micropore sponge tools. A 21st-century invention, Pan Pastels can be used for the painting or in combination with soft. Hard pastels, These have a portion of binder and less pigment. These can be used with other pastels for drawing outlines and adding accents, hard pastels are traditionally used to create the preliminary sketching out of a composition. However, the colors are brilliant and are available in a restricted range in contrast to soft pastels. Pastel pencils, These are pencils with a pastel lead and they are useful for adding fine details. In addition, pastels using a different approach to manufacture have been developed, Oil pastels, These have a soft, buttery consistency and they are dense and fill the grain of paper and are slightly more difficult to blend than soft pastels, but do not require a fixative
38.
Boulevard de Clichy
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It extends from the Place de Clichy to the Rue des Martyrs, nearly a kilometre away. During its tenure, the street has been known as the Boulevard des Martyrs, then the Boulevard Pigalle, and, finally and it is equally well known as the Boulevard Clichy. 6, Boulevard de Clichy, The painter, Edgar Degas, lived here, he died on the fifth floor of this house, in 1917. 11, This house was occupied by Théophile Delcassé, for years the French Foreign Minister. 12, This was studio of French painter William Didier-Pouget,18, Boulevard Pigalle, Here, the American painter, James Abbott McNeill Whistler, executed the portrait of Joanna Hiffernan, a painting known as La Fille Blanche, during the winter of 1861–1862. 36, Now the Paris headquarters of the Lebanese comedy troupe, the Théâtre de Dix-Heures, this building was the home of Honoré Daumier,54, This is the site of two old and much-missed cabarets, Le Ciel and LEnfer. 65, The painter, Jean-Léon Gérôme, established his studio here and died at work in 1904, later,68, This is the second, and ultimate, home of the old cabaret, Le Chat noir, which originally opened around the corner at 84 Boulevard Rouchechouart. This place was much-esteemed for its excellent entertainments,72, Boulevard de Clichy, Musée de lErotisme No. 82, Beginning in 1889, this is where the Moulin-Rouge and it was founded by Joseph Oller. 100, Now the Théâtre des Deux Ânes, this building was once the cabaret known as the Cabaret des Truands, the Boulevard de Cichy is It is served by the 2,12, and 13 lines. Dictionnaire des rues de Paris Paris Guide 1807 – Librairie Internationale
39.
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
40.
Gustave Courbet
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Jean Désiré Gustave Courbet was a French painter who led the Realism movement in 19th-century French painting. Committed to painting only what he could see, he rejected academic convention and his independence set an example that was important to later artists, such as the Impressionists and the Cubists. Courbet occupies an important place in 19th-century French painting as an innovator, Courbets paintings of the late 1840s and early 1850s brought him his first recognition. They challenged convention by depicting unidealized peasants and workers, often on a grand scale traditionally reserved for paintings of religious or historical subjects, Courbets subsequent paintings were mostly of a less overtly political character, landscapes, seascapes, hunting scenes, nudes and still lifes. He was imprisoned for six months in 1871 for his involvement with the Paris Commune, Gustave Courbet was born in 1819 to Régis and Sylvie Oudot Courbet in Ornans. Being a prosperous farming family, anti-monarchical feelings prevailed in the household, Courbets sisters, Zoé, Zélie and Juliette, were his first models for drawing and painting. After moving to Paris he often returned home to Ornans to hunt, fish and he went to Paris in 1839 and worked at the studio of Steuben and Hesse. An independent spirit, he left, preferring to develop his own style by studying the paintings of Spanish, Flemish and French masters in the Louvre. Among his paintings of the early 1840s are several self-portraits, Romantic in conception, trips to the Netherlands and Belgium in 1846–47 strengthened Courbets belief that painters should portray the life around them, as Rembrandt, Hals and other Dutch masters had. By 1848, he had gained supporters among the younger critics, Courbet achieved his first Salon success in 1849 with his painting After Dinner at Ornans. The work, reminiscent of Chardin and Le Nain, earned Courbet a gold medal and was purchased by the state, the gold medal meant that his works would no longer require jury approval for exhibition at the Salon—an exemption Courbet enjoyed until 1857. In 1849-50, Courbet painted Stone-Breakers, which Proudhon admired as an icon of peasant life, the painting was inspired by a scene Courbet witnessed on the roadside. He later explained to Champfleury and the writer Francis Wey, It is not often that one encounters so complete an expression of poverty and so, right then, I told them to come to my studio the next morning. Courbets work belonged neither to the predominant Romantic nor Neoclassical schools, instead, he maintained that the only possible source for living art is the artists own experience. He and Jean-Francois Millet would find inspiration painting the life of peasants, Courbet painted figurative compositions, landscapes, seascapes, and still lifes. He courted controversy by addressing issues in his work, and by painting subjects that were considered vulgar, such as the rural bourgeoisie, peasants. His work, along with that of Honoré Daumier and Jean-François Millet and he depicted the harshness in life, and in so doing challenged contemporary academic ideas of art. The Salon of 1850–1851 found him triumphant with The Stone Breakers, the Burial, one of Courbets most important works, records the funeral of his grand uncle which he attended in September 1848
41.
Jean-Baptiste-Camille Corot
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Jean-Baptiste-Camille Corot was a French landscape and portrait painter as well as a printmaker in etching. He is a figure in landscape painting and his vast output simultaneously references the Neo-Classical tradition. Jean-Baptiste-Camille Corot was born in Paris on July 16,1796, in a house at 125 Rue du Bac, now demolished. After his parents married, they bought the shop where his mother had worked. The store was a destination for fashionable Parisians and earned the family an excellent income. Corot was the second of three born to the family, who lived above their shop during those years. Corot received a scholarship to study at the Lycée Pierre-Corneille in Rouen and he was not a brilliant student, and throughout his entire school career he did not get a single nomination for a prize, not even for the drawing classes. Unlike many masters who demonstrated early talent and inclinations toward art, during those years he lived with the Sennegon family, whose patriarch was a friend of Corots father and who spent much time with young Corot on nature walks. It was in this region that Corot made his first paintings after nature, at nineteen, Corot was a big child, shy and awkward. Before the beautiful ladies who frequented his mothers salon, he was embarrassed and fled like a wild thing, emotionally, he was an affectionate and well-behaved son, who adored his mother and trembled when his father spoke. When Corots parents moved into a new residence in 1817, the 21-year-old Corot moved into the room on the third floor. Later Corot stated, I told my father that business and I were simply incompatible, the business experience proved beneficial, however, by helping him develop an aesthetic sense through his exposure to the colors and textures of the fabrics. Perhaps out of boredom, he turned to oil painting around 1821 and he immediately rented a studio on quai Voltaire. In both approaches, landscape artists would typically begin with outdoor sketching and preliminary painting, with finishing work done indoors, michallon had a great influence on Corots career. Though this school was on the decline, it held sway in the Salon. Corot later stated, I made my first landscape from nature. under the eye of this painter, the lesson worked, since then I have always treasured precision. Though holding Neoclassicists in the highest regard, Corot did not limit his training to their tradition of allegory set in imagined nature and his notebooks reveal precise renderings of tree trunks, rocks, and plants which show the influence of Northern realism. Throughout his career, Corot demonstrated an inclination to apply both traditions in his work, sometimes combining the two, a condition by his parents before leaving was that he paint a self-portrait for them, his first
42.
En plein air
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En plein air, or plein air painting, is a phrase borrowed from the French equivalent meaning open air. It is particularly used to describe the act of painting outdoors, also called French, peinture sur le motif and this method contrasts with studio painting or academic rules, those might create a predetermined look. En plein air can also be used to other activities where a person partakes in an outdoor environment. Artists have long painted outdoors, but in the century, working in natural light became particularly important to the Barbizon school, Hudson River School. The Newlyn School in England is considered another major proponent of the technique in the latter 19th century, the popularity of painting en plein air increased in the 1840s with the introduction of paints in tubes. Previously, painters made their own paints by grinding and mixing dry pigment powders with linseed oil, the act of outdoor painting from observation has been continually popular well into the 21st century. It was during the century that the box easel, typically known as the French box easel or field easel, was invented. It is uncertain who developed it, but these highly portable easels with telescopic legs and built-in paint box and palette made it easier to go into the forest and up the hillsides. Still made today, they remain a popular choice since they fold up to the size of a brief case and thus are easy to store. The Pochade Box is a box that allows the artist to keep all of their supplies. Some designs allow for a canvas which can be held by clamps built into the lid. There are designs which can hold a few wet painting canvases or panels within the lid. These boxes have a rising popularity as while they are used for plein air painting, can also be used in the studio, home. Since pochade boxes are used for painting on location, the canvas or work surface may be small. Challenges include the type of paint used to paint outdoors, animals, bugs, onlookers, acrylic paint may harden and dry quickly in warm, sunny weather and it cannot be reused. On the opposite side of the spectrum is the challenge of painting in moist or damp conditions with precipitation, the advent of plein air painting predated the invention of acrylics. The traditional and well-established method of painting en plein air incorporates the use of oil paint, but enthusiasts of plein air painting were not limited to the Old World. American impressionists too, such as those of the Old Lyme school, were avid painters en plein air, american impressionist painters noted for this style during this era included Guy Rose, Robert William Wood, Mary DeNeale Morgan, John Gamble, and Arthur Hill Gilbert
43.
Mary Cassatt
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Mary Stevenson Cassatt was an American painter and printmaker. She was born in Pennsylvania, but lived much of her life in France. Cassatt often created images of the social and private lives of women and she was described by Gustave Geffroy in 1894 as one of les trois grandes dames of Impressionism alongside Marie Bracquemond and Berthe Morisot. Cassatt was born in Allegheny City, Pennsylvania, which is now part of Pittsburgh and she was born into an upper-middle-class family, Her father, Robert Simpson Cassat, was a successful stockbroker and land speculator. He was descended from the French Huguenot Jacques Cossart, who came to New Amsterdam in 1662 and her mother, Katherine Kelso Johnston, came from a banking family. Katherine Cassatt, educated and well-read, had a influence on her daughter. The ancestral name had been Cossart, a distant cousin of artist Robert Henri, Cassatt was one of seven children, of whom two died in infancy. One brother, Alexander Johnston Cassatt, later president of the Pennsylvania Railroad. The family moved eastward, first to Lancaster, Pennsylvania, then to the Philadelphia area, Cassatt grew up in an environment that viewed travel as integral to education, she spent five years in Europe and visited many of the capitals, including London, Paris, and Berlin. While abroad she learned German and French and had her first lessons in drawing and it is likely that her first exposure to French artists Ingres, Delacroix, Corot, and Courbet was at the Paris World’s Fair of 1855. Also in the exhibition were Degas and Pissarro, both of whom were later her colleagues and mentors, though her family objected to her becoming a professional artist, Cassatt began studying painting at the Pennsylvania Academy of the Fine Arts in Philadelphia at the early age of 15. Part of her parents concern may have been Cassatts exposure to feminist ideas, although about 20 percent of the students were female, most viewed art as a socially valuable skill, few of them were determined, as Cassatt was, to make art their career. She continued her studies from 1861 through 1865, the duration of the American Civil War, among her fellow students was Thomas Eakins, later the controversial director of the Academy. Impatient with the pace of instruction and the patronizing attitude of the male students and teachers. She later said, There was no teaching at the Academy, female students could not use live models, until somewhat later, and the principal training was primarily drawing from casts. Cassatt decided to end her studies, At that time, no degree was granted, after overcoming her fathers objections, she moved to Paris in 1866, with her mother and family friends acting as chaperones. The museum also served as a place for Frenchmen and American female students. In this manner, fellow artist and friend Elizabeth Jane Gardner met, toward the end of 1866, she joined a painting class taught by Charles Chaplin, a noted genre artist
44.
Ukiyo-e
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The ukiyo-e genre of art flourished in Japan from the 17th through 19th centuries. The term ukiyo-e translates as picture of the floating world, Edo became the seat of government for the military dictatorship in the early 17th century. The merchant class at the bottom of the social order benefitted most from the rapid economic growth. Many indulged in the entertainments of kabuki theatre, courtesans, the term ukiyo came to describe this hedonistic lifestyle. The earliest success was in the 1670s with Moronobus paintings and monochromatic prints of beautiful women, colour in prints came gradually—at first added by hand for special commissions. By the 1740s, artists such as Masanobu used multiple woodblocks to print areas of colour, from the 1760s the success of Harunobus brocade prints led to full-colour production becoming standard, each print made with numerous blocks. Specialists have prized the portraits of beauties and actors by masters such as Kiyonaga, Utamaro, Following the deaths of these two masters, and against the technological and social modernization that followed the Meiji Restoration of 1868, ukiyo-e production went into steep decline. Some ukiyo-e artists specialized in making paintings, but most works were prints, as printing was done by hand, printers were able to achieve effects impractical with machines, such as the blending or gradation of colours on the printing block. Ukiyo-e was central to forming the Wests perception of Japanese art in the late 19th century–especially the landscapes of Hokusai, Prints since the late 20th century have continued in an individualist vein, often made with techniques imported from the West. The Kanō school of painting incorporated features of both, since antiquity, Japanese art had found patrons in the aristocracy, military governments, and religious authorities. Later works appeared by and for townspeople, including inexpensive monochromatic paintings of female beauties and scenes of the theatre and pleasure districts, the hand-produced nature of these shikomi-e limited the scale of their production, a limit that was soon overcome by genres that turned to mass-produced woodblock printing. During a prolonged period of war in the 16th century. In the early 17th century Tokugawa Ieyasu unified the country and was appointed Shogun with supreme power over Japan and he consolidated his government in the village of Edo, and required the territorial lords to assemble there in alternate years with their entourages. The demands of the growing capital drew many male labourers from the country, the village grew during the Edo period from a population of 1800 to over a million in the 19th century. The centralized shogunate put an end to the power of the machishū and divided the population into four classes, with the ruling samurai class at the top. The experience of the quarters was open to those of sufficient wealth, manners. Woodblock printing in Japan traces back to the Hyakumantō Darani in 770 CE, until the 17th century such printing was reserved for Buddhist seals and images. Movable type appeared around 1600, but as the Japanese writing system required about 100,000 type pieces, in Saga Domain, calligrapher Honami Kōetsu and publisher Suminokura Soan combined printed text and images in an adaptation of The Tales of Ise and other works of literature
45.
Dreyfus affair
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The Dreyfus Affair was a political scandal that divided the Third French Republic from 1894 until its resolution in 1906. The affair is often seen as a modern and universal symbol of injustice, the major role played by the press and public opinion proved influential in the lasting social conflict. The scandal began in December 1894, with the conviction of Captain Alfred Dreyfus. After high-ranking military officials suppressed the new evidence, a military court unanimously acquitted Esterházy after a trial lasting two days. The Army then accused Dreyfus with additional charges based on falsified documents, activists put pressure on the government to reopen the case. In 1899, Dreyfus was returned to France for another trial, the new trial resulted in another conviction and a 10-year sentence, but Dreyfus was given a pardon and set free. Eventually all the accusations against Dreyfus were demonstrated to be baseless, in 1906 Dreyfus was exonerated and reinstated as a major in the French Army. He served during the whole of World War I, ending his service with the rank of lieutenant-colonel, the affair from 1894 to 1906 divided France deeply and lastingly into two opposing camps, the pro-Army, mostly Catholic anti-Dreyfusards and the anticlerical, pro-republican Dreyfusards. It embittered French politics and encouraged radicalization, the museum created an online platform in 2006 dedicated to the Dreyfus Affair, giving the public access to these documents. After a closed trial, he was guilty of treason. He was deported to Devils Island, at that time, the opinion of the French political class was unanimously unfavourable towards Dreyfus. Certain of the injustice of the sentence, the family of the Captain, through his brother Mathieu, meanwhile Colonel Georges Picquart, head of counter-espionage, found evidence in March 1896 indicating that the real traitor was Major Ferdinand Walsin Esterházy. The General Staff, however, refused to reconsider its judgment, in July 1897 his family contacted the President of the Senate Auguste Scheurer-Kestner to draw attention to the tenuousness of the evidence against Dreyfus. Scheurer-Kestner reported three months later that he was convinced of the innocence of Dreyfus and also persuaded Georges Clemenceau, in the same month, Mathieu Dreyfus complained to the Ministry of War against Walsin-Esterházy. A Dreyfusard declaration that rallied many intellectuals to Dreyfus cause, France became increasingly divided over the case, and the issue continued to be hotly debated until the end of the century. Antisemitic riots erupted in more than twenty French cities, There were several deaths in Algiers. The Republic was shaken, which prompted a sense that the Dreyfus Affair had to be resolved to restore calm, despite increasingly robust evidence to the contrary, Dreyfus was convicted again and sentenced to ten years of hard labour, though the sentence was commuted due to extenuating circumstances. Exhausted by his deportation for four years, Dreyfus accepted the presidential pardon granted by President Émile Loubet
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