1.
Old master print
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An old master print is a work of art produced by a printing process within the Western tradition. Fifteenth-century prints are rare that they are classed as old master prints even if they are of crude or merely workmanlike artistic quality. A date of about 1830 is usually taken as marking the end of the period whose prints are covered by this term, the main techniques used, in order of their introduction, are woodcut, engraving, etching, mezzotint and aquatint, although there are others. Different techniques are combined in a single print. With rare exceptions printed on textiles, such as silk, or on vellum, many great European artists, such as Albrecht Dürer, Rembrandt, and Francisco Goya, were dedicated printmakers. In their own day, their international reputations largely came from their prints, influences between artists were also mainly transmitted beyond a single city by prints, for the same reason. Prints therefore are frequently brought up in detailed analyses of individual paintings in art history, today, thanks to colour photo reproductions, and public galleries, their paintings are much better known, whilst their prints are only rarely exhibited, for conservation reasons. But some museum print rooms allow visitors to see their collection, the oldest technique is woodcut, or woodblock printing, which was invented as a method for printing on cloth in China, and perhaps separately in Egypt in the Byzantine period. This had reached Europe via the Byzantine or Islamic worlds before 1300, religious images and playing cards are documented as being produced on paper, probably printed, by a German in Bologna in 1395. However, the most impressive printed European images to survive from before 1400 are printed on cloth, for use as hangings on walls or furniture, including altars, some were used as a pattern to embroider over. Some religious images were used as bandages, to speed healing, the earliest print images are mostly of a high artistic standard, and were clearly designed by artists with a background in painting. Whether these artists cut the blocks themselves, or only inked the design on the block for another to carve, is not known, the great majority of surviving 15th-century prints are religious, although these were probably the ones more likely to survive. Their makers were sometimes called Jesus maker or saint-maker in documents, as with manuscript books, monastic institutions sometimes produced, and often sold, prints. No artists can be identified with specific woodcuts until towards the end of the century, the little evidence we have suggests that woodcut prints became relatively common and cheap during the fifteenth century, and were affordable by skilled workers in towns. For example, what may be the earliest surviving Italian print, the school caught fire, and the crowd who gathered to watch saw the print carried up into the air by the fire, before falling down into the crowd. This was regarded as an escape and the print was carried to Forlì Cathedral. Like the majority of prints before approximately 1460, only a single impression of this print has survived, Woodcut blocks are printed with light pressure, and are capable of printing several thousand impressions, and even at this period some prints may well have been produced in that quantity. Many prints were hand-coloured, mostly in watercolour, in fact the hand-colouring of prints continued for many centuries, Italy, Germany, France and the Netherlands were the main areas of production, England does not seem to have produced any prints until about 1480
2.
Daniel Hopfer
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Daniel Hopfer was a German artist who is widely believed to have been the first to use etching in printmaking, at the end of the fifteenth century. The son of Bartholomäus Hopfer, a painter, and his wife Anna Sendlerin, Daniel moved to Augsburg early in his life, in 1497 he married Justina Grimm, sister of the Augsburg publisher, physician and druggist Sigismund Grimm. The couple had three sons, Jörg, Hieronymus and Lambert, the last two of whom carried on their fathers profession of etching, Hieronymus in Nuremberg and Lambert in Augsburg. The two sons of Jörg, Georg and Daniel, also became distinguished etchers, patronised by no less than the Emperor Maximilian II, whose successor, Rudolf II, Daniel was trained as an etcher of armour. The Hopfers prospered in Augsburg, and by 1505 Daniel owned a house in the city centre, Daniel died in Augsburg in 1536. His achievement was recognized during his time, and in 1590 he was posthumously named as the inventor of the art of etching in the imperial patent of nobility bestowed upon his grandson Georg. Daniel Hopfers early etchings were done in line-work, but he and his sons soon developed more sophisticated techniques, applied to prints, this produced silhouetted designs on a black ground, doubtless by multiple bitings of the plates. The technically demanding procedure seems to have been both delicate and labour-intensive, and no other artists are known to have used this exact method and their plates were all iron, rather than the copper that the Italians later introduced. None of the Hopfer family was a trained artist, or a natural draughtsman, but the extraordinary diversity of the Hopfers works have made them collectors items. A further print run of 92 plates was made in 1802 by the publishers C. W. Silberberg of Frankfurt under the title Opera Hopferiana. The quality of the prints is a tribute to the care with which the Hopfer family maintained these rust-prone plates, Daniel Hopfer von Kaufbeuren, Meister zu Augsburg 1493-1536. Eyssen, Dissertation, Ruprecht-Karls-Universität, Heidelberg,1904 Hollsteins German Engravings Etchings, a. L. Van Gendt B. V. Blaricum,1986. ISBN 0-300-06883-2 Media related to Daniel Hopfer at Wikimedia Commons
3.
Rembrandt
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Rembrandt Harmenszoon van Rijn was a Dutch draughtsman, painter, and printmaker. A prolific and versatile master across three media, he is considered one of the greatest visual artists in the history of art. Having achieved youthful success as a painter, Rembrandts later years were marked by personal tragedy. Yet his etchings and paintings were popular throughout his lifetime, his reputation as an artist remained high, Rembrandts portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible are regarded as his greatest creative triumphs. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and his reputation as the greatest etcher in the history of the medium was established in his lifetime, and never questioned since. Few of his paintings left the Dutch Republic whilst he lived, but his prints were circulated throughout Europe, because of his empathy for the human condition, he has been called one of the great prophets of civilization. Rembrandt Harmenszoon van Rijn was born on 15 July 1606 in Leiden, in the Dutch Republic and he was the ninth child born to Harmen Gerritszoon van Rijn and Neeltgen Willemsdochter van Zuijtbrouck. His family was quite well-to-do, his father was a miller, religion is a central theme in Rembrandts paintings and the religiously fraught period in which he lived makes his faith a matter of interest. His mother was Roman Catholic, and his father belonged to the Dutch Reformed Church, unlike many of his contemporaries who traveled to Italy as part of their artistic training, Rembrandt never left the Dutch Republic during his lifetime. He opened a studio in Leiden in 1624 or 1625, which he shared with friend, in 1627, Rembrandt began to accept students, among them Gerrit Dou in 1628. In 1629, Rembrandt was discovered by the statesman Constantijn Huygens, as a result of this connection, Prince Frederik Hendrik continued to purchase paintings from Rembrandt until 1646. He initially stayed with an art dealer, Hendrick van Uylenburgh, Saskia came from a good family, her father had been a lawyer and the burgemeester of Leeuwarden. When Saskia, as the youngest daughter, became an orphan, Rembrandt and Saskia were married in the local church of St. Annaparochie without the presence of Rembrandts relatives. In the same year, Rembrandt became a burgess of Amsterdam and he also acquired a number of students, among them Ferdinand Bol and Govert Flinck. In 1635 Rembrandt and Saskia moved into their own house, renting in fashionable Nieuwe Doelenstraat, in 1639 they moved to a prominent newly built house in the upscale Breestraat, today known as Jodenbreestraat in what was becoming the Jewish quarter, then a young upcoming neighborhood. The mortgage to finance the 13,000 guilder purchase would be a cause for later financial difficulties. Rembrandt should easily have been able to pay the house off with his income, but it appears his spending always kept pace with his income. It was there that Rembrandt frequently sought his Jewish neighbors to model for his Old Testament scenes, in 1640, they had a second daughter, also named Cornelia, who died after living barely over a month
4.
Virgin and Child with a Cat
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The Dutch artist Rembrandt van Rijn occupies a unique a position in the history of prints as he does in the history of painting. Etchings such as the The Virgin and Child with a Cat, of 1654 and it is to Rembrandt that generations of etchers have constantly looked for inspiration. In its collection, the Victoria and Albert Museum has both one of the earliest impressions of this etching and the copper plate from which the image is taken. This print shows a scene of maternal affection but it is also a powerful piece of Christian symbolism. While the cat on the left is playing with the Virgins hem, the Virgin is treading on the snake, symbolising her role as the new Eve, who will triumph over original sin. Joseph looks in from outside the window, symbolising his closeness to, but also his separation from, the pattern of the windows glazing creates the impression of a halo around the Virgins head. ISBN 1-85177-365-7 Media related to The Virgin and the Child with the Cat and Snake at Wikimedia Commons
5.
Acid
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An acid is a molecule or ion capable of donating a hydron, or, alternatively, capable of forming a covalent bond with an electron pair. The first category of acids is the donors or Brønsted acids. In the special case of solutions, proton donors form the hydronium ion H3O+ and are known as Arrhenius acids. Brønsted and Lowry generalized the Arrhenius theory to include non-aqueous solvents, acids form aqueous solutions with a sour taste, can turn blue litmus red, and react with bases and certain metals to form salts. The word acid is derived from the Latin acidus/acēre meaning sour, an aqueous solution of an acid has a pH less than 7 and is colloquially also referred to as acid, while the strict definition refers only to the solute. A lower pH means a higher acidity, and thus a higher concentration of hydrogen ions in the solution. Chemicals or substances having the property of an acid are said to be acidic, common aqueous acids include hydrochloric acid, acetic acid, sulfuric acid, and citric acid. As these examples show, acids can be solutions or pure substances, strong acids and some concentrated weak acids are corrosive, but there are exceptions such as carboranes and boric acid. The second category of acids are Lewis acids, which form a covalent bond with an electron pair, however, hydrogen chloride, acetic acid, and most other Brønsted-Lowry acids cannot form a covalent bond with an electron pair and are therefore not Lewis acids. Conversely, many Lewis acids are not Arrhenius or Brønsted-Lowry acids, in modern terminology, an acid is implicitly a Brønsted acid and not a Lewis acid, since chemists almost always refer to a Lewis acid explicitly as a Lewis acid. Modern definitions are concerned with the chemical reactions common to all acids. Most acids encountered in life are aqueous solutions, or can be dissolved in water, so the Arrhenius. The Brønsted-Lowry definition is the most widely used definition, unless otherwise specified, hydronium ions are acids according to all three definitions. Interestingly, although alcohols and amines can be Brønsted-Lowry acids, they can function as Lewis bases due to the lone pairs of electrons on their oxygen and nitrogen atoms. The Swedish chemist Svante Arrhenius attributed the properties of acidity to hydrogen ions or protons in 1884, an Arrhenius acid is a substance that, when added to water, increases the concentration of H+ ions in the water. Thus, an Arrhenius acid can also be described as a substance that increases the concentration of ions when added to water. Examples include molecular substances such as HCl and acetic acid, an Arrhenius base, on the other hand, is a substance which increases the concentration of hydroxide ions when dissolved in water. Thus, an Arrhenius acid could also be said to be one that decreases hydroxide concentration, in an acidic solution, the concentration of hydronium ions is greater than 10−7 moles per liter
6.
Mordant
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A mordant or dye fixative is a substance used to set dyes on fabrics or tissue sections by forming a coordination complex with the dye which then attaches to the fabric or tissue. It may be used for dyeing fabrics, or for intensifying stains in cell or tissue preparations, the term mordant comes from the present participle of French mordre, to bite. In the past, it was thought that a mordant helped the dye bite onto the fiber so that it would hold fast during washing, a mordant is often a polyvalent metal ion. The resulting coordination complex of dye and ion is colloidal and can be acidic or alkaline. Mordants include tannic acid, alum, urine, chrome alum, sodium chloride, iodine is often referred to as a mordant in Gram stains, but is in fact a trapping agent. The three methods used for mordanting are, Pre-mordanting, The substrate is treated with the mordant, meta-mordanting, The mordant is added in the dye bath itself. Post-mordanting, The dyed material is treated with a mordant, the type of mordant used changes the shade obtained after dyeing and also affects the fastness property of the dye. The stability of the mordant or dye lake or both, the formation of a stable dye lake means that the mordant can be added in the dye without risk of losing the dye properties. Dye results can also rely on the mordant chosen as the introduction of the mordant into the dye will have an effect on the final color. Each dye can have different reactions to each mordant, for example, cochineal scarlet, or Dutch scarlet as it came to be known, used cochineal along with a tin mordant to create a brilliant orange-hued red. Residual iron mordant can damage or fade fabric, producing dye rot, the dye lake is an insoluble molecule formed when the complex of dye and mordant are combined, which then attaches to the substrate. Mordants increase the fastness of the dye since the molecule is now bonded to the fibre. The term lake is derived from the term lac, the secretions of the Indian wood insect Laccifer lacca and this is the same insect from which shellac is obtained. The type of mordant used can change the colour of both the dye-plus-mordant solution and influence the shade of the final product, unlike cotton, wool is highly receptive toward mordants. Due to its amphoteric nature wool can absorb acids and bases with equal efficiency, when wool is treated with a metallic salt it hydrolyses the salt into an acidic and basic component. The basic component is absorbed at –COOH group and the component is removed during washing. Wool also has a tendency to absorb fine precipitates from solutions, like wool, silk is also amphoteric and can absorb both acids as well as bases. However, wool has thio groups from the amino acid
7.
Metal
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A metal is a material that is typically hard, opaque, shiny, and has good electrical and thermal conductivity. Metals are generally malleable—that is, they can be hammered or pressed permanently out of shape without breaking or cracking—as well as fusible and ductile, about 91 of the 118 elements in the periodic table are metals, the others are nonmetals or metalloids. Some elements appear in both metallic and non-metallic forms, astrophysicists use the term metal to collectively describe all elements other than hydrogen and helium, the simplest two, in a star. The star fuses smaller atoms, mostly hydrogen and helium, to larger ones over its lifetime. In that sense, the metallicity of an object is the proportion of its matter made up of all chemical elements. Many elements and compounds that are not normally classified as metals become metallic under high pressures, the atoms of metallic substances are typically arranged in one of three common crystal structures, namely body-centered cubic, face-centered cubic, and hexagonal close-packed. In bcc, each atom is positioned at the center of a cube of eight others, in fcc and hcp, each atom is surrounded by twelve others, but the stacking of the layers differs. Some metals adopt different structures depending on the temperature, atoms of metals readily lose their outer shell electrons, resulting in a free flowing cloud of electrons within their otherwise solid arrangement. This provides the ability of metallic substances to easily transmit heat, while this flow of electrons occurs, the solid characteristic of the metal is produced by electrostatic interactions between each atom and the electron cloud. This type of bond is called a metallic bond, Metals are usually inclined to form cations through electron loss, reacting with oxygen in the air to form oxides over various timescales. Examples,4 Na + O2 →2 Na2O2 Ca + O2 →2 CaO4 Al +3 O2 →2 Al2O3, the transition metals are slower to oxidize because they form a passivating layer of oxide that protects the interior. Others, like palladium, platinum and gold, do not react with the atmosphere at all, some metals form a barrier layer of oxide on their surface which cannot be penetrated by further oxygen molecules and thus retain their shiny appearance and good conductivity for many decades. The oxides of metals are generally basic, as opposed to those of nonmetals, exceptions are largely oxides with very high oxidation states such as CrO3, Mn2O7, and OsO4, which have strictly acidic reactions. Painting, anodizing or plating metals are good ways to prevent their corrosion, however, a more reactive metal in the electrochemical series must be chosen for coating, especially when chipping of the coating is expected. Water and the two form an electrochemical cell, and if the coating is less reactive than the coatee. Metals in general have high conductivity, high thermal conductivity. Typically they are malleable and ductile, deforming under stress without cleaving, in terms of optical properties, metals are shiny and lustrous. Sheets of metal beyond a few micrometres in thickness appear opaque, although most metals have higher densities than most nonmetals, there is wide variation in their densities, lithium being the least dense solid element and osmium the densest
8.
Intaglio (printmaking)
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Intaglio is the family of printing and printmaking techniques in which the image is incised into a surface and the incised line or sunken area holds the ink. It is the direct opposite of a relief print, normally, copper or zinc plates are used as a surface or matrix, and the incisions are created by etching, engraving, drypoint, aquatint or mezzotint. Collagraphs may also be printed as intaglio plates, in etching, for example, the plate is covered in a resin ground or an acid-resistant wax material. Using an etching needle, or a tool, the image is engraved into the ground. The plate is dipped into acid. The acid bites into the surface of the plate where it was exposed, biting is a printmaking term to describe the acids etching, or incising, of the image. After the plate is bitten, the plate is removed from the acid bath. To print an intaglio plate, ink is applied to the surface by wiping and/or dabbing the plate to push the ink into the recessed lines, the plate is then rubbed with tarlatan cloth to remove most of the excess ink. The final smooth wipe is often done with newspaper or old public phone book pages, a damp piece of paper is placed on top of the plate, so that when going through the press the damp paper will be able to be squeezed into the plates ink-filled grooves. The paper and plate are covered by a thick blanket to ensure even pressure when going through the rolling press. The rolling press applies very high pressure through the blanket to push the paper into the grooves on the plate, the blanket is then lifted, revealing the paper and printed image. Martin Schongauer was one of the earliest known artists to exploit the copper-engraving technique, italian and Netherlandish engraving began slightly after the Germans, but were well developed by 1500. Drypoint and etching were also German inventions of the century, probably by the Housebook Master. In the nineteenth century, Viennese printer Karel Klíč introduced a combined intaglio, photogravure retained the smooth continuous tones of photography but was printed using a chemically-etched copper plate. This permitted a photographic image to be printed on regular paper, at one time intaglio printing was used for all mass-printed materials including banknotes, stock certificates, newspapers and magazines, fabrics, wallpapers and sheet music. Today intaglio engraving is largely used for paper or plastic currency, banknotes, passports, photogravure, an intaglio photo-printmaking process Rotogravure Line engraving Viscosity printing History of printing Intaglio and other printmaking definitions
9.
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
10.
Engraving
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Engraving is the practice of incising a design onto a hard, usually flat surface by cutting grooves into it. Wood engraving is a form of printing and is not covered in this article. Engraving was an important method of producing images on paper in artistic printmaking, in mapmaking. Other terms often used for printed engravings are copper engraving, copper-plate engraving or line engraving, hand engraving is a term sometimes used for engraving objects other than printing plates, to inscribe or decorate jewellery, firearms, trophies, knives and other fine metal goods. Traditional engravings in printmaking are also engraved, using just the same techniques to make the lines in the plate. Each graver is different and has its own use, engravers use a hardened steel tool called a burin, or graver, to cut the design into the surface, most traditionally a copper plate. Modern professional engravers can engrave with a resolution of up to 40 lines per mm in high grade work creating game scenes, dies used in mass production of molded parts are sometimes hand engraved to add special touches or certain information such as part numbers. In addition to engraving, there are engraving machines that require less human finesse and are not directly controlled by hand. They are usually used for lettering, using a pantographic system, there are versions for the insides of rings and also the outsides of larger pieces. Such machines are used for inscriptions on rings, lockets. Gravers come in a variety of shapes and sizes that yield different line types, the burin produces a unique and recognizable quality of line that is characterized by its steady, deliberate appearance and clean edges. The angle tint tool has a curved tip that is commonly used in printmaking. Florentine liners are flat-bottomed tools with multiple lines incised into them, ring gravers are made with particular shapes that are used by jewelry engravers in order to cut inscriptions inside rings. Flat gravers are used for work on letters, as well as wriggle cuts on most musical instrument engraving work, remove background. Knife gravers are for line engraving and very deep cuts, round gravers, and flat gravers with a radius, are commonly used on silver to create bright cuts, as well as other hard-to-cut metals such as nickel and steel. Square or V-point gravers are typically square or elongated diamond-shaped and used for cutting straight lines, V-point can be anywhere from 60 to 130 degrees, depending on purpose and effect. These gravers have very small cutting points, other tools such as mezzotint rockers, roulets and burnishers are used for texturing effects. Burnishing tools can also be used for stone setting techniques
11.
Etching (microfabrication)
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Etching is used in microfabrication to chemically remove layers from the surface of a wafer during manufacturing. Etching is an important process module, and every wafer undergoes many etching steps before it is complete. For many etch steps, part of the wafer is protected from the etchant by a material which resists etching. In some cases, the material is a photoresist which has been patterned using photolithography. Other situations require a more durable mask, such as silicon nitride, if the etch is intended to make a cavity in a material, the depth of the cavity may be controlled approximately using the etching time and the known etch rate. More often, though, etching must entirely remove the top layer of a multilayer structure, the etching systems ability to do this depends on the ratio of etch rates in the two materials. Some etches undercut the masking layer and form cavities with sloping sidewalls, the distance of undercutting is called bias. Etchants with large bias are called isotropic, because they erode the substrate equally in all directions, Modern processes greatly prefer anisotropic etches, because they produce sharp, well-controlled features. The two fundamental types of etchants are liquid-phase and plasma-phase, each of these exists in several varieties. The first etching processes used liquid-phase etchants, the wafer can be immersed in a bath of etchant, which must be agitated to achieve good process control. For instance, buffered hydrofluoric acid is used commonly to etch silicon dioxide over a silicon substrate, different specialised etchants can be used to characterise the surface etched. Wet etchants are usually isotropic, which leads to large bias when etching thick films and they also require the disposal of large amounts of toxic waste. For these reasons, they are used in state-of-the-art processes. However, the developer used for photoresist resembles wet etching. As an alternative to immersion, single wafer machines use the Bernoulli principle to employ a gas to cushion and it can be done to either the front side or back side. The etch chemistry is dispensed on the top side when in the machine and this etch method is particularly effective just before backend processing, where wafers are normally very much thinner after wafer backgrinding, and very sensitive to thermal or mechanical stress. Etching a thin layer of even a few micrometres will remove microcracks produced during backgrinding resulting in the wafer having dramatically increased strength, some wet etchants etch crystalline materials at very different rates depending upon which crystal face is exposed. In single-crystal materials, this effect can allow very high anisotropy, the term crystallographic etching is synonymous with anisotropic etching along crystal planes
12.
Printed circuit board
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Components are generally soldered on the PCB. Advanced PCBs may contain components embedded in the substrate, PCBs can be single sided, double sided or multi-layer. Conductors on different layers are connected with vias, multi-layer PCBs allow for much higher component density. FR-4 glass epoxy is the primary insulating substrate, a basic building block of the PCB is an FR-4 panel with a thin layer of copper foil laminated to one or both sides. In multi-layer boards multiple layers of material are laminated together, printed circuit boards are used in all but the simplest electronic products. Alternatives to PCBs include wire wrap and point-to-point construction, PCBs require the additional design effort to lay out the circuit, but manufacturing and assembly can be automated. Manufacturing circuits with PCBs is cheaper and faster than other wiring methods as components are mounted and wired with one single part. A minimal PCB with a component used for easier prototyping is called a breakout board. When the board has no embedded components it is correctly called a printed wiring board or etched wiring board. However, the printed wiring board has fallen into disuse. A PCB populated with electronic components is called a printed circuit assembly, the IPC preferred term for assembled boards is circuit card assembly, and for assembled backplanes it is backplane assemblies. The term PCB is used both for bare and assembled boards. The world market for bare PCBs exceeded $60.2 billion in 2014, initially PCBs were designed manually by creating a photomask on a clear mylar sheet, usually at two or four times the true size. Starting from the diagram the component pin pads were laid out on the mylar. Rub-on dry transfers of common component footprints increased efficiency, traces were made with self-adhesive tape. Pre-printed non-reproducing grids on the mylar assisted in layout, to fabricate the board, the finished photomask was photolithographically reproduced onto a photoresist coating on the blank copper-clad boards. Modern PCBs are designed with dedicated software, generally in the following steps. Card dimensions and template are decided based on required circuitry and case of the PCB, the positions of the components and heat sinks are determined
13.
French language
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French is a Romance language of the Indo-European family. It descended from the Vulgar Latin of the Roman Empire, as did all Romance languages, French has evolved from Gallo-Romance, the spoken Latin in Gaul, and more specifically in Northern Gaul. Its closest relatives are the other langues doïl—languages historically spoken in northern France and in southern Belgium, French was also influenced by native Celtic languages of Northern Roman Gaul like Gallia Belgica and by the Frankish language of the post-Roman Frankish invaders. Today, owing to Frances past overseas expansion, there are numerous French-based creole languages, a French-speaking person or nation may be referred to as Francophone in both English and French. French is a language in 29 countries, most of which are members of la francophonie. As of 2015, 40% of the population is in Europe, 35% in sub-Saharan Africa, 15% in North Africa and the Middle East, 8% in the Americas. French is the fourth-most widely spoken mother tongue in the European Union, 1/5 of Europeans who do not have French as a mother tongue speak French as a second language. As a result of French and Belgian colonialism from the 17th and 18th century onward, French was introduced to new territories in the Americas, Africa, most second-language speakers reside in Francophone Africa, in particular Gabon, Algeria, Mauritius, Senegal and Ivory Coast. In 2015, French was estimated to have 77 to 110 million native speakers, approximately 274 million people are able to speak the language. The Organisation internationale de la Francophonie estimates 700 million by 2050, in 2011, Bloomberg Businessweek ranked French the third most useful language for business, after English and Standard Mandarin Chinese. Under the Constitution of France, French has been the language of the Republic since 1992. France mandates the use of French in official government publications, public education except in specific cases, French is one of the four official languages of Switzerland and is spoken in the western part of Switzerland called Romandie, of which Geneva is the largest city. French is the language of about 23% of the Swiss population. French is also a language of Luxembourg, Monaco, and Aosta Valley, while French dialects remain spoken by minorities on the Channel Islands. A plurality of the worlds French-speaking population lives in Africa and this number does not include the people living in non-Francophone African countries who have learned French as a foreign language. Due to the rise of French in Africa, the total French-speaking population worldwide is expected to reach 700 million people in 2050, French is the fastest growing language on the continent. French is mostly a language in Africa, but it has become a first language in some urban areas, such as the region of Abidjan, Ivory Coast and in Libreville. There is not a single African French, but multiple forms that diverged through contact with various indigenous African languages, sub-Saharan Africa is the region where the French language is most likely to expand, because of the expansion of education and rapid population growth
14.
Printing press
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A printing press is a device for applying pressure to an inked surface resting upon a print medium, thereby transferring the ink. The printing press was invented in the Holy Roman Empire by the German Johannes Gutenberg around 1440, the printing press spread within several decades to over two hundred cities in a dozen European countries. By 1500, printing presses in operation throughout Western Europe had already produced more than twenty million volumes, in the 16th century, with presses spreading further afield, their output rose tenfold to an estimated 150 to 200 million copies. The operation of a press became so synonymous with the enterprise of printing that it lent its name to a new branch of media. The sharp rise of learning and literacy amongst the middle class led to an increased demand for books which the time-consuming hand-copying method fell far short of accommodating. Technologies preceding the press led to the presss invention included, manufacturing of paper, development of ink, woodblock printing. At the same time, a number of products and technological processes had reached a level of maturity which allowed their potential use for printing purposes. The device was used from very early on in urban contexts as a cloth press for printing patterns. Gutenberg may have also inspired by the paper presses which had spread through the German lands since the late 14th century. Gutenberg adopted the design, thereby mechanizing the printing process. Printing, however, put a demand on the quite different from pressing. Gutenberg adapted the construction so that the power exerted by the platen on the paper was now applied both evenly and with the required sudden elasticity. To speed up the process, he introduced a movable undertable with a plane surface on which the sheets could be swiftly changed. The known examples range from Germany to England to Italy, however, the various techniques employed did not have the refinement and efficiency needed to become widely accepted. Gutenberg greatly improved the process by treating typesetting and printing as two separate work steps, a goldsmith by profession, he created his type pieces from a lead-based alloy which suited printing purposes so well that it is still used today. The mass production of metal letters was achieved by his key invention of a hand mould. Another factor conducive to printing arose from the existing in the format of the codex. Considered the most important advance in the history of the prior to printing itself
15.
State (printmaking)
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In printmaking, a state is a different form of a print, caused by a deliberate and permanent change to a matrix such as a copper plate or woodblock. Artists often take prints from a plate and then do work on the plate before printing more impressions. Sometimes two states may be printed on the day, sometimes several years may elapse between them. States are usually numbered in Roman numerals, I, II, III. and often as e. g. I/III, to indicate the first of three recorded states. Some recent scholars refine the work of their predecessors, without wishing to create a new numbering, by identifying states such as IIa, IVb. A print with no different states known is catalogued as only state, the definition of states mostly goes back to Adam von Bartsch, the great cataloguer of old master prints. A great deal of work was done by art historians during the 19th and early 20th centuries and this is especially surprising as the whole plate was extensively reworked between the two, apparently to renew it after it was worn from printing. In modern prints, a distinction is made between proof states or working proofs, which are produced before the print is regarded as finished and this is usually possible because modern prints are issued in editions, usually signed and numbered. For example, unlike Dürer, for relatively few different states survive. Rembrandt is one of the most prolific creator of states, new states in old master prints are often caused by the adding of inscriptions inside or below the image. Except for signatures, these would not be added by the artist himself. A wholesale example is Daniel Hopfer, the inventor of etching as a printmaking technique, sometimes another artist may add to a plate, or a anonymous artist or craftsman would rework a plate which has become worn out by printing. This has now been done to most surviving plates by Rembrandt and many by Goya, Martin Schongauer, an example is Forest Marsh with Travellers on a Bank, an etching by Jacob van Ruisdael, where another hand later added clouds. When they develop a keen collectors market, artists have exploited this by creating extra states. This trend can be seen in, among others, the English mezzotinters of the late 18th century, a similar use of state is in book collecting, where a particular page may be reset for some reason in the course of printing. Two states of a print from the BnF Detailed article from the Cleveland Museum of Art, comparing states of the Battle of the Nudes by Antonio del Pollaiolo
16.
Aquatint
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Aquatint is an intaglio printmaking technique, a variant of etching. In intaglio printmaking, the artist makes marks on the plate that are capable of holding ink, the inked plate is passed through a printing press together with a sheet of paper, resulting in a transfer of the ink to the paper. This can be repeated a number of times, depending on the particular technique, like etching, aquatint uses the application of a mordant to etch into the metal plate. Where the engraving uses a needle to make lines that print in black. The rosin is acid resistant and typically adhered to the plate by controlled heating, the tonal variation is controlled by the level of mordant exposure over large areas, and thus the image is shaped by large sections at a time. Another tonal technique, mezzotint, begins with a surface that is evenly indented so that it will carry a fairly dark tone of ink. The mezzotint plate is then smoothed and polished to make areas carry less ink, alternatively, beginning with a smooth plate, areas are roughened to make them darker. Occasionally these two techniques are combined, the painter and printmaker Jan van de Velde IV invented the aquatint technique in Amsterdam, around 1650. The cartographer Peter Perez Burdett later introduced his secret aquatint technique to England in the 1770s, an aquatint requires a metal plate, an acid, and something to resist the acid. Traditionally copper or zinc plates were used, the artist applies a ground that will resist acid. Ground is applied by either dissolving powdered resin in spirits, applying the powder directly to the surface of the plate, in all forms of etching the acid resist is commonly referred to as the ground. An aquatint box is used to apply resin powder, the powder is at the bottom of the box, a crank or a bellows is used to blow the powder up into the air of the box. A window allows the engraver to see the density of flowing powder, when the powder covers the plate, it can be extracted from the box for the next operations. The plate is then heated, if the plate is covered with powder, the resin melts forming a fine and even coat, if it is in spirits, the spirits evaporate and the result is essentially the same. Now the plate is dipped in acid, producing an even, at this point, the plate is said to carry about a 50% halftone. This means that, were the plate printed with no further biting, at some point the artist will then etch an outline of any aspects of the drawing s/he wishes to establish with line, this provides the basis and guide for the later tone work. S/he may also have applied an acid-resistant stop out if s/he intends to keep any areas totally white and free of ink, the artist then begins immersing the plate in the acid bath, progressively stopping out any areas that have achieved the designed tonality. These tones, combined with the limited line elements, give aquatints a distinctive, also, aquatints, like mezzotints, provide ease in creating large areas of tone without laborious cross-hatching, but aquatint plates, it is noted, are generally more durable than mezzotint plates
17.
Francisco Goya
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Francisco José de Goya y Lucientes was a Spanish romantic painter and printmaker. He is considered the most important Spanish artist of late 18th and early 19th centuries and throughout his career was a commentator. Immensely successful in his lifetime, Goya is often referred to as both the last of the Old Masters and the first of the moderns and he was also one of the great portraitists of modern times. He was born to a modest family in 1746 in the village of Fuendetodos in Aragon and he studied painting from age 14 under José Luzán y Martinez and moved to Madrid to study with Anton Raphael Mengs. He married Josefa Bayeu in 1773, the couples life together was characterised by an almost constant series of pregnancies and miscarriages, Goya was a guarded man and although letters and writings survive, little is known about his thoughts. He suffered a severe and undiagnosed illness in 1793 which left him completely deaf, after 1793 his work became progressively darker and more pessimistic. His later easel and mural paintings, prints and drawings appear to reflect a bleak outlook on personal, social and political levels and he was appointed Director of the Royal Academy in 1795, the year Manuel Godoy made an unfavorable treaty with France. In 1799 Goya became Primer Pintor de Cámara, the then-highest rank for a Spanish court painter, in the late 1790s, commissioned by Godoy, he completed his La maja desnuda, a remarkably daring nude for the time and clearly indebted to Diego Velázquez. In 1801 he painted Charles IV of Spain and His Family, in 1807 Napoleon led the French army into Spain. Goya remained in Madrid during the Peninsular War, which seems to have affected him deeply. Although he did not vocalise his thoughts in public, they can be inferred from his Disasters of War series of prints and his 1814 paintings The Second of May 1808 and The Third of May 1808. Goya eventually abandoned Spain in 1824 to retire to the French city of Bordeaux, accompanied by his much younger maid and companion, Leocadia Weiss, there he completed his La Tauromaquia series and a number of other, major, canvases. Following a stroke left him paralyzed on his right side. His body was later re-interred in Spain, Francisco Goya was born in Fuendetodos, Aragón, Spain, on 30 March 1746 to José Benito de Goya y Franque and Gracia de Lucientes y Salvador. The family had moved that year from the city of Zaragoza, José was the son of a notary and of Basque origin, his ancestors being from Zerain, earning his living as a gilder, specialising in religious and decorative craftwork. He oversaw the gilding and most of the ornamentation during the rebuilding of the Basilica of Our Lady of the Pillar, Francisco was their fourth child, following his sister Rita, brother Tomás and second sister Jacinta. There were two sons, Mariano and Camilo. His mothers family had pretensions of nobility and the house, a modest brick cottage, was owned by her family and, perhaps fancifully, about 1749 José and Gracia bought a home in Zaragoza and were able to return to live in the city
18.
Hundred Guilder Print
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The Hundred Guilder Print is an etching by Rembrandt. The etchings popular name derives from the sum of money supposedly once paid for an impression. The rich young man mentioned in the chapter is leaving through the gateway on the right, in this work, Rembrandt broke from the long-standing Northern European tradition of ascribing devotional qualities to religious paintings. Instead, Rembrandt depicted Biblical events as tender instances of piety and serenity, the print is reminiscent of many other Christian religious artworks because it clearly focuses on the figure of Jesus in the centre of the scene. It differs, however, in that it is not based on a biblical story. Through his use of figures, Rembrandt illustrates various themes. Thus, the etching served a purpose for Rembrandts original audience because it presents many religious messages all packed together. Rembrandt worked on the Hundred Guilder Print in stages throughout the 1640s and he probably completed it in 1649. Although the print only survives in two states, the first very rare, evidence of much reworking can be seen underneath the final print and many drawings survive for elements of it. Around 1775, Captain William Baillie printed an 100 impression edition of an extensively re-worked, by his own hand and he acquired the plate, already worn down by repeated printings, from the painter and engraver John Greenwood. As an engraver himself, Biallie attempted to restore the work, after his edition, Baillie cut the plate into four pieces, reworked them further, and had them printed as separate images. To the reduced center fragment with Christ, he added the frame of an arch, while the number of copies Rembrandt printed is unknown, the Hundred Guilder Print is known to be held in the following collections, National Gallery of Art, Washington D. C. British Museum Frick Collection Museum of Fine Arts, Boston including Biallie prints Metropolitan Museum of Art Oberlin College, Allen Memorial Art Museum Rijksmuseum
19.
Goldsmith
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A goldsmith is a metalworker who specializes in working with gold and other precious metals. Goldsmiths must be skilled in forming metal through filing, soldering, sawing, forging, casting, the trade has very often included jewellery-making skills, as well as the very similar skills of the silversmith. Many universities and junior colleges also offer goldsmithing, silversmithing, compared to other metals, gold is malleable, ductile, rare, and it is the only solid metallic element with a yellow color. It may easily be melted, fused, and cast without the problems of oxides and gas that are problematic with other such as bronzes. It is fairly easy to weld, wherein similarly to clay two small pieces may be pounded together to make one larger piece. Gold is classified as a noble metal—because it does not react with most elements and it usually is found in its native form, lasting indefinitely without oxidization and tarnishing. Gold has been worked by humans in all cultures where the metal is available, either indigenously or imported, and the history of these activities is extensive. Superbly made objects from the ancient cultures of Africa, Asia, Europe, India, North America, Mesoamerica, some pieces date back thousands of years and were made using many techniques that still are used by modern goldsmiths. Techniques developed by some of those goldsmiths achieved a level that was lost and remained beyond the skills of those who followed. In medieval Europe goldsmiths were organized into guilds and usually were one of the most important, the guild kept records of members and the marks they used on their products. These records, when they survive, are useful to historians. Goldsmiths often acted as bankers, since they dealt in gold and had sufficient security for the storage of valuable items. The Sunar caste is one of the oldest communities in goldsmithing in India, in India, Vishwakarma are the goldsmith caste. The printmaking technique of engraving developed among goldsmiths in Germany around 1430, the notable engravers of the fifteenth century were either goldsmiths, such as Master E. S. or the sons of goldsmiths, such as Martin Schongauer and Albrecht Dürer. A goldsmith might have an array of skills and knowledge at their disposal. Gold, being the most malleable metal of all, offers opportunities for the worker. In todays world a variety of other metals, especially platinum alloys. 24 Carat is pure gold and historically, was known as fine gold, because it is so soft, however,24 Carat gold is rarely used
20.
Middle Ages
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In the history of Europe, the Middle Ages or Medieval Period lasted from the 5th to the 15th century. It began with the fall of the Western Roman Empire and merged into the Renaissance, the Middle Ages is the middle period of the three traditional divisions of Western history, classical antiquity, the medieval period, and the modern period. The medieval period is subdivided into the Early, High. Population decline, counterurbanisation, invasion, and movement of peoples, the large-scale movements of the Migration Period, including various Germanic peoples, formed new kingdoms in what remained of the Western Roman Empire. In the seventh century, North Africa and the Middle East—once part of the Byzantine Empire—came under the rule of the Umayyad Caliphate, although there were substantial changes in society and political structures, the break with classical antiquity was not complete. The still-sizeable Byzantine Empire survived in the east and remained a major power, the empires law code, the Corpus Juris Civilis or Code of Justinian, was rediscovered in Northern Italy in 1070 and became widely admired later in the Middle Ages. In the West, most kingdoms incorporated the few extant Roman institutions, monasteries were founded as campaigns to Christianise pagan Europe continued. The Franks, under the Carolingian dynasty, briefly established the Carolingian Empire during the later 8th, the Crusades, first preached in 1095, were military attempts by Western European Christians to regain control of the Holy Land from Muslims. Kings became the heads of centralised nation states, reducing crime and violence, intellectual life was marked by scholasticism, a philosophy that emphasised joining faith to reason, and by the founding of universities. Controversy, heresy, and the Western Schism within the Catholic Church paralleled the conflict, civil strife. Cultural and technological developments transformed European society, concluding the Late Middle Ages, the Middle Ages is one of the three major periods in the most enduring scheme for analysing European history, classical civilisation, or Antiquity, the Middle Ages, and the Modern Period. Medieval writers divided history into periods such as the Six Ages or the Four Empires, when referring to their own times, they spoke of them as being modern. In the 1330s, the humanist and poet Petrarch referred to pre-Christian times as antiqua, leonardo Bruni was the first historian to use tripartite periodisation in his History of the Florentine People. Bruni and later argued that Italy had recovered since Petrarchs time. The Middle Ages first appears in Latin in 1469 as media tempestas or middle season, in early usage, there were many variants, including medium aevum, or middle age, first recorded in 1604, and media saecula, or middle ages, first recorded in 1625. The alternative term medieval derives from medium aevum, tripartite periodisation became standard after the German 17th-century historian Christoph Cellarius divided history into three periods, Ancient, Medieval, and Modern. The most commonly given starting point for the Middle Ages is 476, for Europe as a whole,1500 is often considered to be the end of the Middle Ages, but there is no universally agreed upon end date. English historians often use the Battle of Bosworth Field in 1485 to mark the end of the period
21.
British Museum
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The British Museum is dedicated to human history, art and culture, and is located in the Bloomsbury area of London. The British Museum was established in 1753, largely based on the collections of the physician, the museum first opened to the public on 15 January 1759, in Montagu House, on the site of the current building. Although today principally a museum of art objects and antiquities. Its foundations lie in the will of the Irish-born British physician, on 7 June 1753, King George II gave his formal assent to the Act of Parliament which established the British Museum. They were joined in 1757 by the Old Royal Library, now the Royal manuscripts, together these four foundation collections included many of the most treasured books now in the British Library including the Lindisfarne Gospels and the sole surviving copy of Beowulf. The British Museum was the first of a new kind of museum – national, belonging to neither church nor king, freely open to the public, sloanes collection, while including a vast miscellany of objects, tended to reflect his scientific interests. The addition of the Cotton and Harley manuscripts introduced a literary, the body of trustees decided on a converted 17th-century mansion, Montagu House, as a location for the museum, which it bought from the Montagu family for £20,000. The Trustees rejected Buckingham House, on the now occupied by Buckingham Palace, on the grounds of cost. With the acquisition of Montagu House the first exhibition galleries and reading room for scholars opened on 15 January 1759. During the few years after its foundation the British Museum received several gifts, including the Thomason Collection of Civil War Tracts. A list of donations to the Museum, dated 31 January 1784, in the early 19th century the foundations for the extensive collection of sculpture began to be laid and Greek, Roman and Egyptian artefacts dominated the antiquities displays. Gifts and purchases from Henry Salt, British consul general in Egypt, beginning with the Colossal bust of Ramesses II in 1818, many Greek sculptures followed, notably the first purpose-built exhibition space, the Charles Towneley collection, much of it Roman Sculpture, in 1805. In 1816 these masterpieces of art, were acquired by The British Museum by Act of Parliament. The collections were supplemented by the Bassae frieze from Phigaleia, Greece in 1815, the Ancient Near Eastern collection also had its beginnings in 1825 with the purchase of Assyrian and Babylonian antiquities from the widow of Claudius James Rich. The neoclassical architect, Sir Robert Smirke, was asked to draw up plans for an extension to the Museum. For the reception of the Royal Library, and a Picture Gallery over it, and put forward plans for todays quadrangular building, much of which can be seen today. The dilapidated Old Montagu House was demolished and work on the Kings Library Gallery began in 1823, the extension, the East Wing, was completed by 1831. The Museum became a site as Sir Robert Smirkes grand neo-classical building gradually arose
22.
Germanisches Nationalmuseum
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The Germanisches Nationalmuseum is a museum in Nuremberg, Germany. Founded in 1852, it houses a collection of items relating to German culture. The Germanisches Nationalmuseum is Germanys largest museum of cultural history, out of its total holding of some 1.3 million objects, approximately 25,000 are exhibited. The museum is situated in the south of the city center between Kornmarkt and Frauentormauer along the medieval city wall. Its entrance hall is situated on Kartäusergasse which was transformed by the Israeli sculptor Dani Karavan to the Way of Human Rights, the term Germanic should be understood in the historical context of the mid nineteenth century. The German revolutions of 1848–49 had failed to achieve a liberalised and unified Germany, thus the name of the museum maintained the idea of a close cultural relationship within a region defined by the common German language, and a shared German cultural tradition. In 1852, the intention to document the cultural unity of the German-speaking areas was a progressive concept. Only in 1871, when the German Empire was constituted, the museum paid tribute to it by adding national to its name, the museum understands itself as an important research and educational institution. The museum constitutes a monument in itself, as it consists of a variety of buildings erected in different periods. The charterhouse was rebuilt and modified to accommodate the collections until the nineteenth century when Neo-Gothic extensions were added on its south side. During and after the First World War, the „Alter Eingang“, the first major building was added 1955–1958, called „Heussbau“ after the first president of West Germany, Theodor Heuss. In 1983, and from 1988–1993, the museum was substantially enlarged, the „Kartäuserbau“ with the new entrance hall situated now on Kartäusergasse was designed by Jan Störmer of architects ME DI UM. In 1999, the 1910 building of the St Lorenzs parish childrens home was acquired and it was restored in 2002, and is now the home for the Collection of Childrens Toys. Pauls Church, Frankfurt am Main in 1848, the Germanisches Nationalmuseum is a public law foundation supported by the Federal Republic of Germany, the state of Bavaria and the city of Nuremberg. Its Administrative Board is chaired by Prof. Dr. h. c, klaus-Dieter Lehmann, the head of the General Directorate is Prof. Dr. G. Ulrich Großmann. Associated to the museum are Archives, like the German Archive of Art, libraries, a department for restoration and conservation. The museum is organized as a foundation since 1921. Since 2 July 1954, companies and individual persons are invited to support the museums activities, as a research institute, the GNM conducts scientific and historical research on the material provided in the collections and archives
23.
Deutsches Historisches Museum
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It is often viewed as one of the most important museums in Berlin and is one of the most frequented. The museum is located in the Zeughaus on the avenue Unter den Linden as well as in the adjacent Exhibition Hall designed by I. M. Pei, the German Historical Museum is under the legal form of a foundation registered by the Federal Republic of Germany. Its highest-ranking body is the Board of Trustees with representatives of the Federal Government, the German Bundestag and the governments of the German Länder, or states. The museum was founded on 28 October 1987, on the occasion of the 750th anniversary of the founding of Berlin, it was inaugurated in the Reichstag building in former West Berlin. A commission consisting of 16 leading historians, art historians and museum directors worked out a concept for the museum in 1985/86, the final version became the basis for the founding of the DHM. The core of the Museums brief was to present German history in an international context, originally the Museum was to be located near the Reichstag Building at the Spreebogen, the government complex at the bend of the River Spree. The architecture competition for the project was won by the Italian architect Aldo Rossi in 1988, and thus the Zeughaus of 1695 – the oldest building on Unter den Linden – became the seat of the German Historical Museum. The first exhibitions were shown in the Zeughaus in September 1991, the DHM began expanding its collections shortly after its founding. Opening in December 1994, the former Permanent Exhibition, then entitled German History in Images and Testimonials, the façade of the Zeughaus was restored between 1994 and 1998 on the basis of historical documents. The building was closed from 1998 until 2003 while extensive restoration measures were carried out by the office of Winfried Brenne. The new building by I. M. Pei with an area of 2,700 m2 on four floors. The Permanent Exhibition German History in Images and Artefacts was inaugurated in the Zeughaus by Federal Chancellor Angela Merkel on 2 June 2006, as of 30 December 2008 the DHM assumed the legal form of a Public Law Foundation of the Federal Government. Founded in 2009 to establish a centre for the remembrance and documentation of flight and expulsion, the four floors of the I. M. Pei Exhibition Hall are devoted to the Museums temporary exhibitions. The Zeughauskino, a theatre seating 165 guests, is an integral part of the German Historical Museum and is located in the Zeughaus. Its main aim is to bring together historical and film-historical questions in a programme that is marked by film series to accompany exhibitions as well as thematic retrospectives. In 2012, following a decision, the heirs of Hans Sachs were granted possession of his collection which had been expropriated from Dr. Sachs by the Nazis in 1938. The German Historical Museum has the most extensive object database of all museums in Germany that can be consulted on the Internet, the collections of the Museum are recorded and administered in the database. It currently comprises around 500,000 objects and provides digital photos of some 70 percent of these objects, reproduction rights for commercial purposes are managed by the DHM picture archive, which charges industry-standard usage fees
24.
Berlin
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Berlin is the capital and the largest city of Germany as well as one of its constituent 16 states. With a population of approximately 3.5 million, Berlin is the second most populous city proper, due to its location in the European Plain, Berlin is influenced by a temperate seasonal climate. Around one-third of the area is composed of forests, parks, gardens, rivers. Berlin in the 1920s was the third largest municipality in the world, following German reunification in 1990, Berlin once again became the capital of all-Germany. Berlin is a city of culture, politics, media. Its economy is based on high-tech firms and the sector, encompassing a diverse range of creative industries, research facilities, media corporations. Berlin serves as a hub for air and rail traffic and has a highly complex public transportation network. The metropolis is a popular tourist destination, significant industries also include IT, pharmaceuticals, biomedical engineering, clean tech, biotechnology, construction and electronics. Modern Berlin is home to world renowned universities, orchestras, museums and its urban setting has made it a sought-after location for international film productions. The city is known for its festivals, diverse architecture, nightlife, contemporary arts. Since 2000 Berlin has seen the emergence of a cosmopolitan entrepreneurial scene, the name Berlin has its roots in the language of West Slavic inhabitants of the area of todays Berlin, and may be related to the Old Polabian stem berl-/birl-. All German place names ending on -ow, -itz and -in, since the Ber- at the beginning sounds like the German word Bär, a bear appears in the coat of arms of the city. It is therefore a canting arm, the first written records of towns in the area of present-day Berlin date from the late 12th century. Spandau is first mentioned in 1197 and Köpenick in 1209, although these areas did not join Berlin until 1920, the central part of Berlin can be traced back to two towns. Cölln on the Fischerinsel is first mentioned in a 1237 document,1237 is considered the founding date of the city. The two towns over time formed close economic and social ties, and profited from the right on the two important trade routes Via Imperii and from Bruges to Novgorod. In 1307, they formed an alliance with a common external policy, in 1415 Frederick I became the elector of the Margraviate of Brandenburg, which he ruled until 1440. In 1443 Frederick II Irontooth started the construction of a new palace in the twin city Berlin-Cölln
25.
Woodcut
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Woodcut is a relief printing technique in printmaking. An artist carves an image into the surface of a block of wood—typically with gouges—leaving the printing parts level with the surface while removing the non-printing parts. Areas that the artist cuts away carry no ink, while characters or images at surface level carry the ink to produce the print, the block is cut along the wood grain. The surface is covered with ink by rolling over the surface with a roller, leaving ink upon the flat surface. Multiple colors can be printed by keying the paper to a frame around the woodblocks, single-leaf woodcut is a term for a woodcut presented as a single image or print, as opposed to a book illustration. Among these the best known are the 16th century Hieronymus Andreae, Hans Lützelburger and Jost de Negker, all of whom ran workshops, the formschneider in turn handed the block on to specialist printers. There were further specialists who made the blank blocks and this is why woodcuts are sometimes described by museums or books as designed by rather than by an artist, but most authorities do not use this distinction. The division of labour had the advantage that a trained artist could adapt to the medium relatively easily, there were various methods of transferring the artists drawn design onto the block for the cutter to follow. Either the drawing would be made directly onto the block, or a drawing on paper was glued to the block, either way, the artists drawing was destroyed during the cutting process. Other methods were used, including tracing, in both Europe and the Far East in the early 20th century, some artists began to do the whole process themselves. In Japan, this movement was called sōsaku-hanga, as opposed to shin-hanga, in the West, many artists used the easier technique of linocut instead. Compared to intaglio techniques like etching and engraving, only low pressure is required to print, as a relief method, it is only necessary to ink the block and bring it into firm and even contact with the paper or cloth to achieve an acceptable print. In Europe a variety of woods including boxwood and several nut and fruit woods like pear or cherry were commonly used, in Japan, there are three methods of printing to consider, Stamping, Used for many fabrics and most early European woodcuts. Used for European woodcuts and block-books later in the fifteenth century, also used for many Western woodcuts from about 1910 to the present. The block goes face up on a table, with the paper or fabric on top, the back is rubbed with a hard pad, a flat piece of wood, a burnisher, or a leather frotton. A traditional Japanese tool used for this is called a baren, later in Japan, complex wooden mechanisms were used to help hold the woodblock perfectly still and to apply proper pressure in the printing process. This was especially helpful once multiple colors were introduced and had to be applied with precision atop previous ink layers, printing in a press, presses only seem to have been used in Asia in relatively recent times. Printing-presses were used from about 1480 for European prints and block-books, simple weighted presses may have been used in Europe before the print-press, but firm evidence is lacking
26.
Hohokam
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The Hohokam were an ancient Native American culture centered in the present US state of Arizona. The Hohokam are one of the four cultures of the American Southwest. Variant spellings in current, official usage include Hobokam, Huhugam, according to the National Park Service Website, Hohokam is an Oodham word used by archaeologists to identify a group of people who lived in the Sonoran Desert. According to local tradition, the Hohokam may be the ancestors of the historic Pima. Recent academic research focused on the Sobaipuri, ancient ancestors of the modern Pima, Hohokam, a term borrowed from the Oodham language, is used to define an archaeological culture that existed from the beginning of the common era to about the middle of the 15th century. As an abstract construct, this culture was centered on the middle Gila and this is referred to as the Hohokam Core Area, as opposed to the Hohokam Peripheries, or adjacent regions into which the Hohokam Culture extended. Collectively, the Core and Peripheries formed what is referred to as the Hohokam Regional System, the Hohokam also extended into the Mogollon Rim region. This prehistoric group from the Early Agricultural Period grew corn, lived year round in sedentary villages, the Hohokam used the waters of the Salt and Gila Rivers and constructed an assortment of simple canals combined with weirs in their various agricultural pursuits. These were constructed using relatively simple excavation tools, without the benefit of advanced engineering technologies, and achieved drops of a few feet per mile, balancing erosion and siltation. Over 70 years of research has revealed that the Hohokam cultivated varieties of cotton, tobacco, maize, beans. Late in the Hohokam Chronological Sequence, they used extensive dry-farming systems, primarily to grow agave for food. But, by the century, a distinct Hohokam architectural tradition emerged. Hohokam burial practices varied over time, initially, the primary method employed was flexed inhumation, similar to the tradition used by the southern Mogollon culture, located immediately to the east. Although the particulars of the practice changed somewhat, the Hohokam cremation tradition remained dominant until around 1300, at this time, extended inhumation, similar to that used by the Salado tradition to the north and northeast, was quickly adopted. Also, many of the details of the late Hohokam burial patterns were similar to the tradition practiced by the historic Tohono. This section provides an outline of the Hohokam chronological sequence. As an archaeological construct, the HCS uses a culture history-based period/phase scheme designed to provide a narrative of what has been perceived as a sequence of significant cultural change. Overall, the reason the HCS is confusing is that two primary methods of expressing this information are used, and within context, a vast plethora of theoretical variants have been posited
27.
Jacques Callot
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Jacques Callot was a baroque printmaker and draftsman from the Duchy of Lorraine. He is an important person in the development of the old master print and he made more than 1,400 etchings that chronicled the life of his period, featuring soldiers, clowns, drunkards, Gypsies, beggars, as well as court life. He also etched many religious and military images, and many prints featured extensive landscapes in their background, Callot was born and died in Nancy, the capital of Lorraine, now in France. He came from an important family, and he describes himself as having noble status in the inscriptions to his prints. At the age of fifteen he was apprenticed to a goldsmith and he probably then studied etching with Antonio Tempesta in Florence, where he lived from 1612 to 1621. More than 2,000 preparatory drawings and studies for prints survive, but no paintings by him are known, during his period in Florence he became an independent master, and worked often for the Medici court. After the death of Cosimo II de Medici during 1621, he returned to Nancy where he lived for the rest of his life, visiting Paris and he was commissioned by the courts of Lorraine, France and Spain, and by publishers, mostly in Paris. Although he remained in Nancy, his prints were distributed widely through Europe and his technique was exceptional, and was helped by important technical advances he made. He developed the échoppe, a type of etching-needle with an oval section at the end. Previously the risk of foul-biting had always been present, preventing an engraver from investing too much time on a plate that risked being ruined by foul-biting. Now etchers could do the detailed work that was previously the monopoly of engravers. He also made extensive and sophisticated use of multiple stoppings-out than previous etchers had done. He achieved unprecedented subtlety in effects of distance and light and shade by careful control of this process, most of his prints were relatively small – as much as about six inches or 15 cm on their longest dimension. One of his devotees, the Parisian Abraham Bosse spread Callots innovations all over Europe with the first published manual of etching and his most famous prints are his two series of prints each on the Miseries and Misfortunes of War. These are known as Les Grandes Misères de la guerre, consisting of 18 prints published during 1633, at the end the generals are rewarded by their monarch. Callots series of Grotesque Dwarves were to inspire Derby porcelain and other companies to create pottery figures known as Mansion House Dwarves or Grotesque Dwarves. The former title comes from a father and son who were paid to wander around the Mansion House in London wearing oversized hats that contained advertisements. Varie Figure Gobbi - Series of 21 etchings,1616 A large series depicting commedia dellarte figures called Balli di Sfessania, in a simple, caricature-like style, Series on the Lives of Christ and Mary
28.
Nancy, France
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Nancy is the capital of the north-eastern French department of Meurthe-et-Moselle, and formerly the capital of the Duchy of Lorraine, and then the French province of the same name. The metropolitan area of Nancy had a population of 410,509 inhabitants at the 1999 census,103,602 of whom lived in the city of Nancy proper. The motto of the city is Non inultus premor, Latin for Im not touched with impunity—a reference to the thistle, the earliest signs of human settlement in the area date back to 800 BC. Early settlers were attracted by easily mined iron ore and a ford in the Meurthe River. A small fortified town named Nanciacum was built by Gérard, Duke of Lorraine around 1050, Duke Charles the Bold of Burgundy, was defeated and killed in the Battle of Nancy in 1477, René II, Duke of Lorraine became the ruler. In 1736 Emperor Charles arranged her marriage to Duke François of Lorraine, exiled Polish king Stanisław Leszczyński, father-in-law of French king Louis XV, was given the vacant duchy instead. Under his nominal rule, Nancy experienced growth and a flowering of Baroque culture and architecture, with his death in 1766, the duchy became a regular French province and Nancy lost its position as a residential capital city with its own princely court and patronage. As unrest surfaced within the French armed forces during the French Revolution, a few reliable units laid siege to the town and shot or imprisoned the mutineers. In 1871, Nancy remained French when Prussia annexed Alsace-Lorraine, the flow of refugees reaching Nancy doubled its population in three decades. Artistic, academic, financial and industrial excellence flourished, establishing what is still the Capital of Lorraines trademark to this day, Nancy was freed from Nazi Germany by the U. S. Third Army in September 1944, during the Lorraine Campaign of World War II at the Battle of Nancy ), in 1988, Pope John Paul II visited Nancy. In 2005, French President Jacques Chirac, German Chancellor Gerhard Schröder, Nancy is situated on the left bank of the river Meurthe, about 10 km upstream from its confluence with the Moselle. The Marne–Rhine Canal runs through the city, parallel to the Meurthe, Nancy is surrounded by hills that are about 150 m higher than the city center, which is situated at 200 m amsl. The area of Nancy proper is small,15 km2. Its built-up area is continuous with those of its adjacent suburbs, the neighboring communes of Nancy are, Jarville-la-Malgrange, Laxou, Malzéville, Maxéville, Saint-Max, Tomblaine, Vandœuvre-lès-Nancy and Villers-lès-Nancy. Adjacent to its south is the quarter Charles III – Centre Ville and this quarter contains the famous Place Stanislas, the Nancy Cathedral, the Opéra national de Lorraine and the main railway station. The old city centers heritage dates from the Middle Ages to the 18th century, the cathedral of Nancy, the Triumphal Arch and the Place de la Carriere are a fine examples of 18th-century architecture. The Palace of the Dukes of Lorraine is the princely residence of the rulers
29.
Duchy of Lorraine
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The Duchy of Lorraine, originally Upper Lorraine, was a duchy now included in the larger present-day region of Lorraine in northeastern France. It was founded in 959 following the division of Lotharingia into two duchies, Upper and Lower Lorraine, the westernmost parts of the Holy Roman Empire. The Lower duchy was quickly dismantled, while Upper Lorraine came to be known as simply the Duchy of Lorraine, the Duchy of Lorraine was coveted and briefly occupied by the Dukes of Burgundy and the Kings of France. When Stanisław died on 23 February 1766, Lorraine was annexed by France, lorraines predecessor, Lotharingia, was an independent Carolingian kingdom under the rule of King Lothair II. Its territory had originally been a part of Middle Francia, created in 843 by the Treaty of Verdun, Middle Francia was allotted to Emperor Lothair I, therefore called Lotharii Regnum. On his death in 855, it was divided into three parts, of which his son Lothair II took the northern one. His realm then comprised a territory stretching from the County of Burgundy in the south to the North Sea. In French, this became known as Lorraine, while in German. In the Alemannic language once spoken in Lorraine, the -ingen suffix signified a property, thus, in a figurative sense, stuck in the conflict with his rival Hugh the Great, in 942 King Louis IV of France renounced all claims to Lotharingia. In 953, the German king Otto I had appointed his brother Bruno the Great Duke of Lotharingia, in 959, Bruno divided the duchy into Upper and Lower Lorraine, this division became permanent following his death in 965. The Upper Duchy was further up the system, that is, it was inland. Upper Lorraine was first denominated as the Duchy of the Moselle, the usage of Lotharingia Superioris and Lorraine in official documents begins later, around the fifteenth century. The first duke and deputy of Bruno was Frederick I of Bar, Lower Lorraine disintegrated into several smaller territories and only the title of a Duke of Lothier remained, held by Brabant. After the duchy of the Moselle came into the possession of René of Anjou, the name Duchy of Lorraine was adopted again, only retrospectively called Upper Lorraine. At that time, several territories had already split off, such as the County of Luxembourg, the Electorate of Trier, the County of Bar, the border between the Empire and the Kingdom of France remained relatively stable throughout the Middle Ages. In 1301, Count Henry III of Bar had to receive the part of his lands as a fief by King Philip IV of France. In 1475, the Burgundian duke Charles the Bold campaigned for the Duchy of Lorraine, in the 1552 Treaty of Chambord, a number of insurgent Protestant Imperial princes around Elector Maurice of Saxony ceded the Three Bishoprics to King Henry II of France in turn for his support. In the 17th century, the French kings began to covet Lorraine, while the central Imperial authority decayed in the course of the Thirty Years War, Chief Minister Cardinal Richelieu urged the occupation of the duchy in 1641
30.
Jacques Bellange
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Jacques Bellange was an artist and printmaker from the Duchy of Lorraine whose etchings and some drawings are his only securely identified works today. They are among the most striking Northern Mannerist old master prints, mostly on Catholic religious subjects, and with a highly individual style. None of his paintings are known to have survived, but the prints have been known to collectors since shortly after his death, in the 20th century they have been much more highly regarded, although Bellange is still not a well-known figure. The village was destroyed in 1645 by French armies after a siege during their conquest of Lorraine. After the 1595 record there is a gap until 1602. Scholars have speculated that Bellange travelled either in this period or before 1595, the connection with Crispijn de Passe in Cologne may mean that he had visited that city. In eight of Bellanges prints, his signature describes him as eques or knight and it is not impossible that he had acquired it at some other court during this period, and returned to Lorraine around 1602 with the prestige of an artist with international experience. He appears employed as a painter in Nancy in 1602, and thereafter appears regularly in the court accounts until 1616. Some jobs for the court attracted extra payments, in 1606 he repainted, for 1,200 francs, the Galerie des Cerfs and he appears to have repeated the previous scheme of hunting scenes. This was Lorraines first classical triumphal arch, surmounted by a statue of Virgil in honour of the brides Mantuan home, Bellange also produced a car for use in the ballet produced for the celebrations, with 12 papier-maché putti. In March 1608, just before the old death, Bellange was given 135 francs for a trip to France to see the new royal art commissions. He is not recorded as working on the arrangements in mid-May. His largest recorded commission, for 4,000 francs in 1610, was to decorate the Salle Neuf of the palace with scenes from Ovid, in 1612 he married Claude Bergeron, the 17-year-old daughter of a prominent Nancy apothecary, with whom he had three sons. The dowry was 6,000 francs, with a promise that the Bergerons country house would pass to the couple, the exact date and cause of Bellanges death in 1616 are unknown. His widow remarried another courtier in 1620 and had a further five children and it is generally agreed that 47 or 48 etchings by Bellange survive, and along with a number of drawings these are possibly all that remain of his art today. He probably branched into etching to spread his reputation beyond the small world of Nancy. There are no concessions to realism in his work, female figures predominate, most, but not the Virgin, dressed in a fantasy mixture of contemporary court fashion and antique dress. Men mostly wear fantastical versions of Ancient Roman parade uniforms mixed with Oriental elements and his work for the court in designing costumes for masques and ballets may be an influence here, and it has been suggested that the four female gardeners are connected with specific costume designs
31.
Lute
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The European lute and the modern Near-Eastern oud descend from a common ancestor via diverging evolutionary paths. The lute is used in a variety of instrumental music from the Medieval to the late Baroque eras and was the most important instrument for secular music in the Renaissance. It is also an instrument, especially in vocal works. The player of a lute is called a lutenist, lutanist or lutist, the words lute and oud possibly derive from Arabic al-ʿud. Recent research by Eckhard Neubauer suggests ʿud may in turn be an Arabized version of the Persian name rud and it has equally been suggested the wood in the name may have distinguished the instrument by its wooden soundboard from skin-faced predecessors. Gianfranco Lotti suggests the wood appellation originally carried derogatory connotations because of proscriptions of all music in early Islam. Lutes are made almost entirely of wood, the soundboard is a teardrop-shaped thin flat plate of resonant wood. In all lutes the soundboard has a single decorated sound hole under the strings called the rose. The sound hole is not open, but rather covered with a grille in the form of a vine or a decorative knot. Robert Lundberg, in his book Historical Lute Construction, suggests ancient builders placed bars according to ratios of the scale length. He further suggests the inward bend of the soundboard is an adaptation by ancient builders to afford the lutenists right hand more space between the strings and soundboard. Soundboard thickness varies, but generally hovers between 1.5 and 2 mm, some luthiers tune the belly as they build, removing mass and adapting bracing to produce desirable sonic results. The lute belly is almost never finished, but in cases the luthier may size the top with a very thin coat of shellac or glair to help keep it clean. After joining the top to the sides, a half-binding is usually installed around the edge of the soundboard, the half-binding is approximately half the thickness of the soundboard and is usually made of a contrasting color wood. The rebate for the half-binding must be precise to avoid compromising structural integrity. The back or the shell is assembled from strips of hardwood called ribs. There are braces inside on the soundboard to give it strength, the neck is made of light wood, with a veneer of hardwood to provide durability for the fretboard beneath the strings. Unlike most modern stringed instruments, the fretboard is mounted flush with the top
32.
Abraham Bosse
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Abraham Bosse was a French artist, mainly as a printmaker in etching, but also in watercolour. He was born to Huguenot parents in Tours, France, where his father had moved from Germany and his father was a tailor, and Bosses work always depicted clothes in loving detail. He married Catherine Sarrabat at Tours in 1632 and he remained a Huguenot, dying before the Revocation of the Edict of Nantes, but was happy to illustrate religious subjects to Catholic taste. Roughly 1600 etchings are attributed to him, with including, daily life religion, literature, history fashion, technology. Most of his output was illustrations for books, but many were sold separately. His style grows from Dutch and Flemish art, but is given a strongly French flavour, many of his images give informative detail about middle and upper-class daily life in the period, although they must be treated with care as historical evidence. Most of his images are perhaps best regarded as rather than art. He was apprenticed in Paris about 1620 to the Antwerp-born engraver Melchior Tavernier and his first etchings date to 1622, and are influenced by Jacques Bellange. He took Callots highly detailed small images to a size. Like most etchers, he used engraving on a plate in addition to etching. In 1641 he began to attend classes given by the architect Girard Desargues on perspective, Bosse not only adopted these methods but also published a series of works between 1643–1653 explaining and promoting them. In 1648, when Cardinal Mazarin established the Académie royale de peinture et de sculpture, in 1661 Bosse was forced to withdraw from the Academy, he established his own school as an alternative. Des Argues Lyonnois pour poser lessieu & placer les heures & autres choses aux cadrans au Soleil, printed by P. de Hayes, manière universelle de M. des Argues pour pratiquer la perspective par petit-pied comme le géométral. — Manual on perspective Moyen universel de la perspective sur les tableaux ou surfaces irrégulières. The famous frontispiece for Leviathan by Thomas Hobbes was created with input from Hobbes, ISBN 2-7177-2283-1 Dhombres, Sakharovitch — Desargues en son temps, libr. Albert Blanchard, Paris Jean-Claude Vuillemin, “Abraham Bosse, ” in L. Foisneau, dictionary of Seventeenth-Century French Philosophers,2 vols. London and New York, Thoemmes Continuum,2008, GUERRIAUD, M. Abraham Bosse et la gravure du doyen. Revue d’Histoire de la Pharmacie,2013, p. 289-301, dossier on Abraham Bosse by the French ministry of culture
33.
Giovanni Benedetto Castiglione
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Giovanni Benedetto Castiglione was an Italian Baroque artist, painter, printmaker and draftsman, of the Genoese school. He is best known now for his engravings, and as the inventor of the printmaking technique of monotyping. He was known as Il Grechetto in Italy and in France as Le Benédette and he may have studied with Sinibaldo Scorza. He may have trained under the Genoese Bernardo Strozzi and he lived in Rome from 1634 to about 1645, then returned to Genoa. He also traveled to Florence and Naples He was back in Rome in 1647, before moving in 1651 to be court artist in Mantua for Duke Carlo II and he had various brushes with the law in his lifetime. The turbulence that characterised his life overshadowed his artistic brilliance, much of what is known about the artist is derived not from fulfilled commissions, but from court documents. He painted portraits, historical pieces and landscapes, but chiefly excelled in fairs, markets, noahs ark and the animals entering the Ark was a favorite subject of his. He returned to the subjects over and over again. He also executed a number of etchings, diogenes searching for a Man is one of the principal of these, others are about religious themes. Some are moralistic stories such as that of the leading the blind. The etchings are remarkable for light and shade, and have earned for Castiglione the name of a second Rembrandt. He was exposed to Rembrandts etching by 1630, in about 1648 he invented the monotype, the only printmaking technique to be an Italian invention, making over twenty over the succeeding years. His most popular and influential prints were a series of heads, mostly of vaguely Oriental males. These were produced in great numbers, Castiglione was renowned for his ability to paint animals, mostly barn animals, and this was often a dominant motif in his paintings. It has been suggested that it was Jan Roos who convinced Castiglione to enliven his religious and mythological compositions with animal, in Mantua, he received his name of Grechetto, from the classic air of his pastoral depictions. In his later years, he was afflicted by gout. He also influenced Anton Maria Vassallo, among those who engraved after him were Giovanni Lorenzo Bertolotto in Genoa, the Venetian Anton Maria Zanetti, Michele lAsne, Louis de Chatillon, and Coreneille Coemans. His paintings are to be found in Rome, Venice, Naples, Florence, the Presepio for the church of San Luca, Genoa, ranks among his most celebrated paintings, and the Louvre contains eight characteristic examples
34.
Giovanni Battista Piranesi
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Giovanni Battista Piranesi was an Italian artist famous for his etchings of Rome and of fictitious and atmospheric prisons. Piranesi was born in Mogliano Veneto, near Treviso, then part of the Republic of Venice, from 1740 he had an opportunity to work in Rome as a draughtsman for Marco Foscarini, the Venetian ambassador of the new Pope Benedict XIV. He resided in the Palazzo Venezia and studied under Giuseppe Vasi, Giuseppe Vasi found Piranesis talent was beyond engraving. According to Legrand, Vasi told Piranesi that you are too much of a painter, my friend, from 1743 to 1747 he sojourned mainly in Venice where, according to some sources, he often visited Giovanni Battista Tiepolo, a leading artist in Venice. It was Tiepolo who expanded the restrictive conventions of reproductive, topographical and he then returned to Rome, where he opened a workshop in Via del Corso. In 1748–1774 he created a series of vedute of the city which established his fame. In the meantime Piranesi devoted himself to the measurement of many of the ancient edifices, in 1761 he became a member of the Accademia di San Luca and opened a printing facility of his own. In 1762 the Campo Marzio dellantica Roma collection of engravings was printed, the following year he was commissioned by Pope Clement XIII to restore the choir of San Giovanni in Laterano, but the work did not materialize. He combined certain ancient architectural elements, trophies and escutcheons, with a venetian whimsicality for the facade of the church and this was the only time he expressed himself in actual marble and stone. In 1767 he was made a knight of the Golden Spur, in 1776 he created his best known work as a restorer of ancient sculpture, the Piranesi Vase, and in 1777–78 he published Avanzi degli Edifici di Pesto. He died in Rome in 1778 after an illness, and was buried in the Church he had helped restore. His tomb was designed by Giuseppi Angelini, the idea of Enlightenment by theorists and artists traveled all over the Europe including Paris, Dresden, and London. The developing center of the Grand Tour was Rome, Rome became a new meeting place and intellectual capital of Europe for the leaders of a new movement in the arts. The city was attracting artists and architects all over the Europe beside the Grand Tourists, dealers. While many came though official institutions such as the French Academy, others came to see the new discoveries at Heraculaneum, Piranesi was not only aware of the engineering of the ancient buildings but also the poetic aspects of the ruins from his experience in Venice. One distinctive feature of Piranesis work is based on the interpretation of Classical antiquity by adding his imagination to increase the originality, through the works of Marco Ricci and particularly Giovanini Paolo Pannini, Piranesi became familiar with the architectonic values as well as the ruin fantasy. The remains of Rome kindled Piranesis enthusiasm, some of his later work was completed by his children and several pupils. Piranesis son and coadjutor, Francesco, collected and preserved his plates, twenty-nine folio volumes containing about 2000 prints appeared in Paris
35.
Giovanni Battista Tiepolo
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Giovanni Battista Tiepolo, also known as Gianbattista or Giambattista Tiepolo, was an Italian painter and printmaker from the Republic of Venice. He was prolific, and worked not only in Italy, but also in Germany, Giovan Battista Tiepolo, together with Giambattista Pittoni, Canaletto, Giovan Battista Piazzetta, Giuseppe Maria Crespi and Francesco Guardi forms the traditional great Old Masters of that period. Successful from the beginning of his career, he has described by Michael Levey as the greatest decorative painter of eighteenth-century Europe. Born in Venice, he was the youngest of six children of Domenico and his father was a small shipping merchant who belonged to a family that bore the prestigious patrician name of Tiepolo without claiming any noble descent. Some of the children acquired noble godparents, and Giambattista was originally named after his godfather and he was baptised on 16 April 1696 in the local church, San Pietro di Castello. His father died about a later, leaving his mother to bring up a family of young children. In 1710 he became a pupil of Gregorio Lazzarini, a painter with an eclectic style. A biography of his teacher, published in 1732, says that Tiepolo departed from studied manner of painting and his earliest known works are depictions of the apostles, painted in spandrels as part of the decoration of the church of the Ospedoletto in Venice in 1715–6. He painted his first fresco in 1716, on the ceiling of a church at Biadene and he probably left Lazzarinis studio in 1717, the year he was received into the Fraglia or guild of painters. In around 1719–20 he painted a scheme of frescoes for the wealthy, Tiepolo depicted the Triumph of Aurora on the ceiling, and the Myth of Phaethon on the walls, creating the kind of fluid spatial illusion which was to become a recurring theme in his work. In 1722 he was one of twelve artists commissioned to contribute a painting on canvas of one of the apostles as part of a scheme for the nave of San Stae in Venice. The other artists involved included Ricci, Piazetta, and Pellegrini, in 1719, Tiepolo married noblewoman Maria Cecilia Guardi, sister of two contemporary Venetian painters Francesco and Giovanni Antonio Guardi. Together, Tiepolo and his wife had nine children, four daughters and three sons survived childhood. Two of his sons, Domenico and Lorenzo, painted with him as his assistants and his children painted figures with a design similar to that of their father, but with distinctive, including genre, styles. His third son became a priest, fabio Canal, Francesco Lorenzi, Domenico Pasquini were among his pupils. Some major commissions came from the patrician Dolfin family, Tiepolo used a much cooler palette than previous Venetian painters, in order to create a convincing effect of daylight. These early masterpieces, innovative amongst Venetian frescoes for their luminosity, dominic Instituting the Rosary, Palazzo Clerici, Milan, decorations for Villa Cordellini at Montecchio Maggiore and for the ballroom of the Palazzo Labia in Venice, showing the Story of Cleopatra. Tiepolo produced two sets of etchings, the Capricci and the Scherzi di fantasia, the ten capricci were first published by Anton Maria Zanetti, incorporated into the third edition of a compilation of woodcuts after Parmigiano
36.
Daniel Chodowiecki
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Daniel Niklaus Chodowiecki was a Polish—and later German—painter and printmaker with Huguenot ancestry, who is most famous as an etcher. He spent most of his life in Berlin, and became the director of the Berlin Academy of Art. He was born in the city of Danzig in Poland, and in a letter “in typical Berlin humor” wrote, “that he moved to Berlin, Germany, which shows for sure and his grandfather Bartholomāus Chodowiecki had lived in the 16th century in Greater Poland. Gottfried Chodowiecki, Daniels father, was a tradesman in Danzig and his mother, Daniels grandfather Christian had been a tradesman in the city as well. His brother also became a painter and he had three daughters, Jeannette, Susanne and Henriette. Jeannettes daughter Marianne Chodowiecka Papin and her son Heinrich Papin also became artists, soon Daniel was able to earn a living by painting. He was admitted to the Berlin Academy in 1764 and became vice-director under Bernhard Rode in 1788 and he had found his true calling and became the most famous German graphic artist of his time. His works includes several thousand etchings, usually small. His book illustrations embrace almost all the great classics and his prints represent in great detail the life of the bourgeoisie during the Zopfstil period, a time between Rococo and Classicism. In 1797 Chodowiecki was appointed director of the Academy of Arts in Berlin, the bulk of his work was in illustrating scientific books by Basedow, Buffon, Lavater, Pestalozzi and others. He also painted portraits of Polish gentry and was interested in Huguenot and Polish history as well. He was in tune with the spirit of the age, and many works reflect the cult of sensibility. In printmaking, he is credited with the invention of the deliberate remarque and these were originally little sketches or doodles by artists, not really meant to be seen, but Chodowiecki turned them into bonus items for collectors. After Partitions of Poland Chodowiecki wrote to Gräfin Solms-Laubach, From fathers side Im Polish, in a letter to Józef Łęcki, the Polish astronomer, he wrote, I consider it an honour to be a genuine Pole, even though I am now living in Germany. Because of his mothers and his wifes Huguenot descent he was close to the Huguenots of Berlin. Nearly all his life and career was spent in Germany, writing in German, one of his most popular books is Journey from Berlin to Danzig with many illustrations. He purchased a rather than going by stage coach. This was his first return after 30 years absence and he went specifically to see his elderly mother and he made only one more trip to Danzig afterwards, to his mothers funeral
37.
Etching revival
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During the century after Rembrandts death the techniques of etching and drypoint brought to their highest point by him gradually declined. By the late century, with brilliant exceptions like Piranesi and Tiepolo. However, in the 1840s and 50s in France, a number of artists did produce some landscape etchings which seemed to some of the spirit of the old master print. Daubigny, Millet and especially Charles Jacque produced etchings that were different from those heavily worked reproductive plates of the previous century, cadart founded the Société des Aquafortistes in 1862, reviving the awareness of the beautiful, original etching in the minds of the collecting public. A Treatise on Etching by Lalanne was translated by S. R, koehler and published in the United States in 1880. It played a significant role in the Etching Revival in America, however, before the translation of Lalannes book, Philip Gilbert Hamerton had become an enthusiastic promoter of etching in Britain. His Etching and Etchers was more an art history than a text but it did much to popularize the art. The book went through many editions till the 20th century, by the 1870s Hamerton was also publishing an influential periodical, titled The Portfolio, that published etchings in editions of 1000 copies. It was Whistler who convinced the artist Alphonse Legros, one of the members of the French Revival and this linking of the art of the two countries, though short-lived, did much to validate etching as an art form. Etching as a collected and therefore as a practised art appears to have died with the Great Depression, without a large group of collectors many artists returned to their canvases. Etchings fell hugely in value until the 1980s when a new market began to develop for what is now seen as a small but important tributary of the stream of 19th- and 20th-century art. Documenting the Gilded Age, New York City Exhibitions at the turn of the 20th century A New York Art Resources Consortium project, exhibition catalogs from the Etching Revival
38.
William Blake
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William Blake was an English poet, painter, and printmaker. Largely unrecognised during his lifetime, Blake is now considered a figure in the history of the poetry. His so-called prophetic works were said by 20th century critic Northrop Frye to form what is in proportion to its merits the least read body of poetry in the English language. His visual artistry led 21st-century critic Jonathan Jones to proclaim him far, in 2002, Blake was placed at number 38 in the BBCs poll of the 100 Greatest Britons. Although he lived in London his entire life, he produced a diverse and symbolically rich œuvre and his paintings and poetry have been characterised as part of the Romantic movement and as Pre-Romantic. Reverent of the Bible but hostile to the Church of England, Blake was influenced by the ideals and ambitions of the French, despite these known influences, the singularity of Blakes work makes him difficult to classify. William Blake was born on 28 November 1757 at 28 Broad Street in Soho and he was the third of seven children, two of whom died in infancy. Blakes father, James, was a hosier and he attended school only long enough to learn reading and writing, leaving at the age of ten, and was otherwise educated at home by his mother Catherine Blake. Even though the Blakes were English Dissenters, William was baptised on 11 December at St Jamess Church, Piccadilly, the Bible was an early and profound influence on Blake, and remained a source of inspiration throughout his life. Blake started engraving copies of drawings of Greek antiquities purchased for him by his father, within these drawings Blake found his first exposure to classical forms through the work of Raphael, Michelangelo, Maarten van Heemskerck and Albrecht Dürer. The number of prints and bound books that James and Catherine were able to purchase for young William suggests that the Blakes enjoyed, at least for a time, a comfortable wealth. When William was ten years old, his parents knew enough of his headstrong temperament that he was not sent to school and he read avidly on subjects of his own choosing. During this period, Blake made explorations into poetry, his work displays knowledge of Ben Jonson, Edmund Spenser. On 4 August 1772, Blake was apprenticed to engraver James Basire of Great Queen Street, at the sum of £52.10, at the end of the term, aged 21, he became a professional engraver. This aside, Basires style of line-engraving was of a kind held at the time to be old-fashioned compared to the flashier stipple or mezzotint styles. It has been speculated that Blakes instruction in this form may have been detrimental to his acquiring of work or recognition in later life. After two years, Basire sent his apprentice to copy images from the Gothic churches in London and his experiences in Westminster Abbey helped form his artistic style and ideas. The Abbey of his day was decorated with suits of armour, painted funeral effigies, ackroyd notes that. the most immediate would have been of faded brightness and colour
39.
All Religions are One
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All Religions are One is a series of philosophical aphorisms by William Blake, written in 1788. As such, they serve as a significant milestone in Blakes career, as Peter Ackroyd points out and it had enlarged his range, with relief etching, the words inscribed like those of God upon the tables of law, Blake could acquire a new role. Inscribed in the colophon of this text is W Blakes Original Stereotype was 1788 and it is almost universally agreed amongst Blakean scholars, that the Original Stereotype to which he here refers was All Religions are One and/or There is No Natural Religion. Artists like James Barry and John Hamilton Mortimer were the exceptions to the norm insofar as they tended to engrave their own material, etching was also commonly used for layering in such aspects as landscape and background. The plate was covered with acid, and the engraver went over the incised lines with a burin to allow the acid to bite into the furrows. The acid would then be poured off, leaving the design incised on the plate, the engraver would then engrave the plates entire surface with a web of crosshatched lines, before pouring the ink onto the plate and transferring it to the printing press. Blakes great innovation in relief etching was to print from the relief, or raised, parts of the rather than the intaglio, or incised, parts. e. in relief. The acid was then poured off, the wax was removed, and this method allowed expressive effects which were impossible to achieve via intaglio. The major disadvantage was that text had to be written backwards as whatever was on the plate would print in reverse when pressed onto the paper, the dominant theory as to how Blake solved this problem is simply that he wrote in reverse. Blake could also colour the plates themselves in coloured inks before pressing them or tint them with watercolours after printing. Because of this aspect, a component of relief etching was that every page of every book was a unique piece of art. Variations in the print, different colouring choices, repainted plates. Blake himself referred to relief etching as printing in the method, by means of corrosives melting apparent surfaces away. A contemporary description of the method was provided by Blakes friend, apart from the unique aesthetic effects possible, a major advantage of relief etching was that Blake could print the material himself. As such, relief etching tackled the problem of the division of labour of publishing, like drawings and manuscripts, Blakes relief etchings were created by the direct and positive action of the author/artists hand without intervening processes. Blake served as artist, engraver, printer and publisher, whether he had printed All Religions prior to 1795 is unknown. Copy A is located in The Huntington Library, except Plate 2, the copy of the title page which goes with Copy A is located in the Geoffrey Keynes Collection in the Fitzwilliam Museum. The title page from another copy, the plates of which are unrecorded, is in the Victoria
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Relief printing
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Relief printing is a process where protruding surface faces of the printing plate or block are inked, recessed areas are ink free. Printing the image is therefore a simple matter of inking the face of the matrix. A printing-press may not be needed as the back of the paper can be rubbed or pressed by hand with a tool such as a brayer or roller. The matrix in relief printing is classically created by starting with a flat original surface, the remaining areas of the original surface receive the ink. The relief family of techniques includes woodcut, metalcut, wood engraving, relief etching, linocut, rubber stamp, foam printing, potato printing, traditional text printing with movable type is also a relief technique. This meant that woodcuts were much easier to use as book illustrations, intaglio illustrations, such as engravings, had to be printed separately. Relief printing is one of the families of printmaking techniques, along with the intaglio. Modern developments have created other types, in contrast, in the intaglio process the recessed areas are the printed areas. The whole matrix is inked, and the ink then wiped away from the surface, much greater pressure is then needed to force the paper into the channels containing the ink, and a high-pressure press will normally be required. Intaglio techniques include engraving, etching, and drypoint, with planographic techniques, such as lithography, the entire surface of the matrix is flat, and some areas are treated to create the print image. Normally relief and intaglio techniques can only be mixed with others of the family in the same work. See also Relief printing techniques as used and described by French printmaker Dominique Lecomte
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Copper
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Copper is a chemical element with symbol Cu and atomic number 29. It is a soft, malleable, and ductile metal with high thermal and electrical conductivity. A freshly exposed surface of copper has a reddish-orange color. Copper is one of the few metals that occur in nature in directly usable metallic form as opposed to needing extraction from an ore and this led to very early human use, from c.8000 BC. Copper used in buildings, usually for roofing, oxidizes to form a green verdigris, Copper is sometimes used in decorative art, both in its elemental metal form and in compounds as pigments. Copper compounds are used as agents, fungicides, and wood preservatives. Copper is essential to all living organisms as a trace dietary mineral because it is a key constituent of the enzyme complex cytochrome c oxidase. In molluscs and crustaceans, copper is a constituent of the blood pigment hemocyanin, replaced by the hemoglobin in fish. In humans, copper is found mainly in the liver, muscle, the adult body contains between 1.4 and 2.1 mg of copper per kilogram of body weight. The filled d-shells in these elements contribute little to interatomic interactions, unlike metals with incomplete d-shells, metallic bonds in copper are lacking a covalent character and are relatively weak. This observation explains the low hardness and high ductility of single crystals of copper, at the macroscopic scale, introduction of extended defects to the crystal lattice, such as grain boundaries, hinders flow of the material under applied stress, thereby increasing its hardness. For this reason, copper is supplied in a fine-grained polycrystalline form. The softness of copper partly explains its high conductivity and high thermal conductivity. The maximum permissible current density of copper in open air is approximately 3. 1×106 A/m2 of cross-sectional area, Copper is one of a few metallic elements with a natural color other than gray or silver. Pure copper is orange-red and acquires a reddish tarnish when exposed to air, as with other metals, if copper is put in contact with another metal, galvanic corrosion will occur. A green layer of verdigris can often be seen on old structures, such as the roofing of many older buildings. Copper tarnishes when exposed to sulfur compounds, with which it reacts to form various copper sulfides. There are 29 isotopes of copper, 63Cu and 65Cu are stable, with 63Cu comprising approximately 69% of naturally occurring copper, both have a spin of 3⁄2
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Zinc
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Zinc is a chemical element with the symbol Zn and atomic number 30. It is the first element in group 12 of the periodic table, in some respects zinc is chemically similar to magnesium, both elements exhibit only one normal oxidation state, and the Zn2+ and Mg2+ ions are of similar size. Zinc is the 24th most abundant element in Earths crust and has five stable isotopes, the most common zinc ore is sphalerite, a zinc sulfide mineral. The largest workable lodes are in Australia, Asia, and the United States, Zinc is refined by froth flotation of the ore, roasting, and final extraction using electricity. Zinc metal was not produced on a large scale until the 12th century in India and was unknown to Europe until the end of the 16th century, the mines of Rajasthan have given definite evidence of zinc production going back to the 6th century BC. To date, the oldest evidence of pure zinc comes from Zawar, in Rajasthan, alchemists burned zinc in air to form what they called philosophers wool or white snow. The element was named by the alchemist Paracelsus after the German word Zinke. German chemist Andreas Sigismund Marggraf is credited with discovering pure metallic zinc in 1746, work by Luigi Galvani and Alessandro Volta uncovered the electrochemical properties of zinc by 1800. Corrosion-resistant zinc plating of iron is the application for zinc. Other applications are in batteries, small non-structural castings. A variety of compounds are commonly used, such as zinc carbonate and zinc gluconate, zinc chloride, zinc pyrithione, zinc sulfide. Zinc is an essential mineral perceived by the public today as being of exceptional biologic and public health importance, Zinc deficiency affects about two billion people in the developing world and is associated with many diseases. In children, deficiency causes growth retardation, delayed sexual maturation, infection susceptibility, enzymes with a zinc atom in the reactive center are widespread in biochemistry, such as alcohol dehydrogenase in humans. Consumption of excess zinc can cause ataxia, lethargy and copper deficiency, Zinc is a bluish-white, lustrous, diamagnetic metal, though most common commercial grades of the metal have a dull finish.6 pm. The metal is hard and brittle at most temperatures but becomes malleable between 100 and 150 °C, above 210 °C, the metal becomes brittle again and can be pulverized by beating. Zinc is a conductor of electricity. For a metal, zinc has relatively low melting and boiling points, the melting point is the lowest of all the transition metals aside from mercury and cadmium. Many alloys contain zinc, including brass, Other metals long known to form binary alloys with zinc are aluminium, antimony, bismuth, gold, iron, lead, mercury, silver, tin, magnesium, cobalt, nickel, tellurium, and sodium
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Steel
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Steel is an alloy of iron and other elements, primarily carbon, that is widely used in construction and other applications because of its high tensile strength and low cost. Steels base metal is iron, which is able to take on two forms, body centered cubic and face centered cubic, depending on its temperature. It is the interaction of those allotropes with the elements, primarily carbon. In the body-centred cubic arrangement, there is an atom in the centre of each cube. Carbon, other elements, and inclusions within iron act as hardening agents that prevent the movement of dislocations that otherwise occur in the lattices of iron atoms. The carbon in steel alloys may contribute up to 2. 1% of its weight. Steels strength compared to pure iron is possible at the expense of irons ductility. With the invention of the Bessemer process in the mid-19th century and this was followed by Siemens-Martin process and then Gilchrist-Thomas process that refined the quality of steel. With their introductions, mild steel replaced wrought iron, further refinements in the process, such as basic oxygen steelmaking, largely replaced earlier methods by further lowering the cost of production and increasing the quality of the product. Today, steel is one of the most common materials in the world and it is a major component in buildings, infrastructure, tools, ships, automobiles, machines, appliances, and weapons. Modern steel is generally identified by various grades defined by assorted standards organizations, the noun steel originates from the Proto-Germanic adjective stakhlijan, which is related to stakhla. The carbon content of steel is between 0. 002% and 2. 1% by weight for plain iron–carbon alloys and these values vary depending on alloying elements such as manganese, chromium, nickel, iron, tungsten, carbon and so on. Basically, steel is an alloy that does not undergo eutectic reaction. In contrast, cast iron does undergo eutectic reaction, too little carbon content leaves iron quite soft, ductile, and weak. Carbon contents higher than those of steel make an alloy, commonly called pig iron, while iron alloyed with carbon is called carbon steel, alloy steel is steel to which other alloying elements have been intentionally added to modify the characteristics of steel. Common alloying elements include, manganese, nickel, chromium, molybdenum, boron, titanium, vanadium, tungsten, cobalt, and niobium. Additional elements are important in steel, phosphorus, sulfur, silicon, and traces of oxygen, nitrogen, and copper. Alloys with a higher than 2. 1% carbon content, depending on other element content, cast iron is not malleable even when hot, but it can be formed by casting as it has a lower melting point than steel and good castability properties
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America a Prophecy
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America a Prophecy is a 1793 prophetic book by the English poet and illustrator William Blake. It is engraved on eighteen plates, and survives in fourteen known copies and it is the first of Blakes Continental prophecies. During autumn 1790, Blake moved to Lambeth, Surrey and he had a studio at the new house that he used while writing what were later called his Lambeth Books, which included America in 1793. Like the others under the title, all aspects of the work, including the composition of the designs, the printing of them, the colouring of them, Blake wrote in his notebook I say I shant live five years. And if I live one it will be a Wonder, early sketches for America were also included in this notebook, which Blake used between 1790 and 1793. While early drafts of America mentioned King George III by name, Blake scrupulously avoided this in the draft, referring to him as the King of England. There were 17 copies of America created with 4 of them coloured, the work contained 18 plates, and were 23 x 17 cm in size. The lines of poetry included in the work were organized into septenaries, henry Crabb Robinson contacted William Upcott on 19 April 1810 inquiring about copies of Blakes works that were in his possession. On that day, Robinson was allowed access to Europe and America, the image A Breach in a City served as the frontispiece for America and was originally shown on its own at the Royal Academy during April 1784. The work was based on the Gordon riots at Newgate Prison during June 1780. The implications of the work are taken up again in America with the King of England trembling as he sees Orc, the Angel of Albion believes Orc is the anti-christ and Orc believes the King of England is the same. No more I follow, no more obedience pay, however, only America and Europe were ever given that title by Blake. His understanding of the word was not to denote a description of the future but to describe the view of the honest, America was also the first book that Blake titled a Prophecy. This change indicates that he was no longer dramatizing history, as in The French Revolution, in regards to the prophetic works, the character Oothoon represented America in Visions of the Daughters of Albion and she is raped by the character Bromion. The book represents her as trapped by a system created by John Locke. The implications of the work are taken up again in America with the King of England trembling as he witnesses Orc, although there is a vision of rebellion, there is no actual freedom at the end of the poem just as in the Visions of the Daughters of Albion. Unlike the Visions of the Daughters of Albion, America, as well as Europe, the Song of Los is connected to both America and Europe in that it describes Africa and Asia, which operate as a sort of frame to the other works. As such, the three works are united by the historical and social themes
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Paula Modersohn-Becker
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Paula Modersohn-Becker was a German painter and one of the most important representatives of early expressionism. In a brief career, cut short by an embolism at the age of 31 and she is becoming recognized as the first female painter to paint female nudes. Using bold forays into subject matter and chromatic color choices, she and fellow-artists Picasso, Paula Becker was born and grew up in Dresden-Friedrichstadt. She was the child of seven children in her family. Her father Carl Woldemar Becker, the son of a Russian university professor for french lessons, was employed as an engineer with the German railway and her mother, Mathilde was from an aristocratic family ″von Bültzingslöwen″, and her parents provided their children a cultured and intellectual household environment. In 1888 the family moved from Dresden to Bremen, while visiting an maternal aunt in London, Becker received her first instruction in drawing at St Johns Wood Art School. In addition to her teachers training in Bremen in 1893-1895, Becker received private instruction in painting, in 1896 she participated in a course for painting and drawing sponsored by the Verein der Berliner Künstlerinnen which offered art studies to women. Beckers friend Clara Westhoff left Bremen in early 1899 to study in Paris, by December of that year, Becker followed her there, and in 1900 she studied at the Académie Colarossi in the Latin Quarter. In April 1900 the great Centennial Exhibition was held in Paris, on this occasion Fritz Overbeck and his wife, along with Otto Modersohn, arrived in June. Modersohns ailing wife Helen had been left in Worpswede and died during his trip to Paris, with this news Modersohn and the Overbecks rushed back to Germany. In 1901 Paula married Otto Modersohn and became stepmother to Ottos two-year-old daughter, Elsbeth Modersohn and she functioned in that capacity for two years, then relocated to Paris again in 1903. She and Modersohn lived mostly apart from that time forward until 1907, the marriage with Modersohn remained unconsummated until their final year together. By 1906, Becker has reversed her previous desire to avoid having children, however, by early 1907 she returned to her husband, became pregnant, and in November she delivered a daughter, Mathilde. After the pregnancy she complained of leg pain, so the physician ordered bed rest. She studied under Mackensen, painting from the farmers. At this time she began friendships with the sculptor Clara Westhoff. Until the years when Paula Becker began the practice, women painters had not widely used nude females as subjects for their work, Modersohn-Becker came from a bourgeois German family background. She was formally trained as an artist and school teacher and had studied in London and her work on the female nude is unconventional and expresses an ambivalence to both her subject matter and the method of its representation
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