1.
Nadar (photographer)
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Nadar was the pseudonym of Gaspard-Félix Tournachon, a French photographer, caricaturist, journalist, novelist, and balloonist. Photographic portraits by Nadar are held by many of the national collections of photographs. Nadar was born in April 1820 in Paris and his father, Victor Tournachon, was a printer and bookseller. After his fathers death, Nadar decided to quit his studies for economic reasons. Nadar started working as a caricaturist and novelist for various newspapers and he fell in with the Parisian bohemian group of Gérard de Nerval, Charles Baudelaire and Théodore de Banville. His friends picked a nickname for him, Tournadar, which later became Nadar and his work was published in Le Charivari for the first time in 1848. In 1849, he founded the Revue comique and the Petit journal pour rire, from work as a caricaturist, he moved on to photography, particularly portraits. He opened his studio in rue Saint Lazare in 1854. Nadar photographed a wide range of personalities, politicians, stage actors, writers, painters, portrait photography was going through a period of native industrialization and Nadar refused to use the traditional sumptuous decors, preferred natural daylight and despised useless accessories. In 1886, with his son Paul, he did what may be the first photo-report and it was published in Le Journal Illustré. He took his first photographs in 1853 and in 1855 opened a studio at 25 Boulevard des Capucines. He also pioneered the use of lighting in photography, working in the catacombs of Paris. He was the first person to photograph above ground with his balloons, as well as the first to photograph below ground, Le Géant was badly damaged at the end of its second flight, leading Nadar to the conviction that heavier-than-air machines would be more successful. Later, The Society for the Encouragement of Aerial Locomotion by Means of Heavier than Air Machines was established, with Nadar as president, Nadar was the inspiration for the character of Michael Ardan in Vernes From the Earth to the Moon. On his visit to Brussels with Le Géant, on 26 September 1864, crowd control barriers are still known in Belgium as Nadar barriers. In April 1874, he lent his studio to a group of painters to present the first exhibition of the Impressionists. He photographed Victor Hugo on his death-bed in 1885 and he is credited with having published the first photo-interview, and also took erotic photographs. From 1895 until his return to Paris in 1909, the Nadar photo studio was in Marseilles, Nadar died in 1910, aged 89
2.
Saint-Maurice, Val-de-Marne
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Saint-Maurice is a commune in the southeastern suburbs of Paris, France. It is located 6.8 km from the center of Paris, the insane asylum Charenton was located in Saint-Maurice, it is now a psychiatric hospital. Originally called Charenton-Saint-Maurice, the name of the commune was shortened to Saint-Maurice in 1842. In 1929, the commune of Saint-Maurice lost half of its territory when the city of Paris annexed the Bois de Vincennes, Saint-Maurice is served by no station of the Paris Métro, RER, or suburban rail network. The closest station to Saint-Maurice is Charenton – Écoles station on Paris Métro Line 8 and this station is located in the neighboring commune of Charenton-le-Pont,0.6 km from the town center of Saint-Maurice. Area senior high schools include Lycée Polyvalent Robert Schuman in Charenton-Le-Pont, Lycée Intercommunal Eugène Delacroix in Maisons-Alfort, and Lycée Marcelin Berthelot in Saint-Maur-des-Fossés
3.
Painting
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Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
4.
Lithography
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Lithography is a method of printing originally based on the immiscibility of oil and water. The printing is from a stone or a plate with a smooth surface. It was invented in 1796 by German author and actor Alois Senefelder as a method of publishing theatrical works. Lithography can be used to print text or artwork onto paper or other suitable material, Lithography originally used an image drawn with oil, fat, or wax onto the surface of a smooth, level lithographic limestone plate. The stone was treated with a mixture of acid and gum arabic, when the stone was subsequently moistened, these etched areas retained water, an oil-based ink could then be applied and would be repelled by the water, sticking only to the original drawing. The ink would finally be transferred to a paper sheet. This traditional technique is used in some fine art printmaking applications. In modern lithography, the image is made of a coating applied to a flexible aluminum plate. The image can be printed directly from the plate, or it can be offset, by transferring the image onto a sheet for printing. In fact, photolithography is used synonymously with offset printing, the technique as well as the term were introduced in Europe in the 1850s. Beginning in the 1960s, photolithography has played an important role in the fabrication, Lithography uses simple chemical processes to create an image. For instance, the part of an image is a water-repelling substance. Thus, when the plate is introduced to a printing ink and water mixture, the ink will adhere to the positive image. This allows a flat print plate to be used, enabling much longer, Lithography was invented by Alois Senefelder in the Kingdom of Bavaria in 1796. In the early days of lithography, a piece of limestone was used. After the oil-based image was put on the surface, a solution of gum arabic in water was applied, during printing, water adhered to the gum arabic surfaces and was repelled by the oily parts, while the oily ink used for printing did the opposite. Lithography works because of the repulsion of oil and water. The image is drawn on the surface of the print plate with a fat or oil-based medium such as a wax crayon, which may be pigmented to make the drawing visible
5.
Liberty Leading the People
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Liberty Leading the People is a painting by Eugène Delacroix commemorating the July Revolution of 1830, which toppled King Charles X of France. The figure of Liberty is also viewed as a symbol of France, by the time Delacroix painted Liberty Leading the People, he was already the acknowledged leader of the Romantic school in French painting. Delacroix painted his work in the autumn of 1830, in a letter to his brother dated 21 October, he wrote, My bad mood is vanishing thanks to hard work. I’ve embarked on a modern subject—a barricade, and if I haven’t fought for my country at least I’ll paint for her. The painting was first exhibited at the official Salon of 1831, Delacroix depicted Liberty as both an allegorical goddess-figure and a robust woman of the people. The mound of corpses acts as a kind of pedestal from which Liberty strides, barefoot and bare-breasted, out of the canvas, the Phrygian cap she wears had come to symbolize liberty during the first French Revolution, of 1789–94. The painting has been seen as a marker to the end of the Age of Enlightenment, what they have in common is the fierceness and determination in their eyes. Aside from the flag held by Liberty, a second, minute tricolore can be discerned in the flying from the towers of Notre Dame. The identity of the man in the top hat has been widely debated, the suggestion that it was a self-portrait by Delacroix has been discounted by modern art historians. This plan did not come to fruition and the canvas hung in the museum gallery for a few months. After the June Rebellion of 1832, it was returned to the artist, according to Albert Boime, Champfleury wrote in August 1848 that it had been “hidden in an attic for being too revolutionary. Delacroix was permitted to send the painting to his aunt Félicité for safekeeping and it was exhibited briefly in 1848, after the Republic was restored in the revolution of that year, and then in the Salon of 1855. In 1874, the painting entered the collection of Palais du Louvre in Paris, the exhibit, entitled French Painting 1774–1830, The Age of Revolution, marked a rare display of the Delacroix painting, and many of the other 148 works, outside France. The exhibit was first shown at the Grand Palais from 16 November 1974 to 3 February 1975 and it moved to Detroit from 5 March to 4 May 1975, then New York from 12 June to 7 September 1975. In 1999, it was flown on board an Airbus Beluga from Paris to Tokyo via Bahrain, the large canvas, measuring 2.99 metres high by 3.62 metres long, was too large to fit into a Boeing 747. It was transported in the position inside a special pressurised container provided with isothermal protection. In 2012, it was moved to the new Louvre-Lens museum in Lens, Pas-de-Calais, on 7 February 2013, the painting was vandalized by a visitor in Lens. An unidentified 28-year-old woman allegedly wrote an inscription on the painting, the young woman was immediately arrested by a security guard and a visitor
6.
Romanticism
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Romanticism was characterized by its emphasis on emotion and individualism as well as glorification of all the past and nature, preferring the medieval rather than the classical. It was embodied most strongly in the arts, music, and literature, but had a major impact on historiography, education. It elevated folk art and ancient custom to something noble, Romanticism assigned a high value to the achievements of heroic individualists and artists, whose examples, it maintained, would raise the quality of society. It also promoted the individual imagination as a critical authority allowed of freedom from classical notions of form in art, there was a strong recourse to historical and natural inevitability, a Zeitgeist, in the representation of its ideas. In the second half of the 19th century, Realism was offered as a polar opposite to Romanticism, the decline of Romanticism during this time was associated with multiple processes, including social and political changes and the spread of nationalism. Defining the nature of Romanticism may be approached from the point of the primary importance of the free expression of the feelings of the artist. The importance the Romantics placed on emotion is summed up in the remark of the German painter Caspar David Friedrich that the feeling is his law. Samuel Taylor Coleridge and others believed there were laws that the imagination—at least of a good creative artist—would unconsciously follow through artistic inspiration if left alone. As well as rules, the influence of models from other works was considered to impede the creators own imagination, so that originality was essential. The concept of the genius, or artist who was able to produce his own work through this process of creation from nothingness, is key to Romanticism. This idea is called romantic originality. Not essential to Romanticism, but so widespread as to be normative, was a strong belief, however, this is particularly in the effect of nature upon the artist when he is surrounded by it, preferably alone. Romantic art addressed its audiences with what was intended to be felt as the voice of the artist. So, in literature, much of romantic poetry invited the reader to identify the protagonists with the poets themselves. In both French and German the closeness of the adjective to roman, meaning the new literary form of the novel, had some effect on the sense of the word in those languages. It is only from the 1820s that Romanticism certainly knew itself by its name, the period typically called Romantic varies greatly between different countries and different artistic media or areas of thought. Margaret Drabble described it in literature as taking place roughly between 1770 and 1848, and few dates much earlier than 1770 will be found. In English literature, M. H. Abrams placed it between 1789, or 1798, this latter a very typical view, and about 1830, however, in most fields the Romantic Period is said to be over by about 1850, or earlier
7.
Impressionism
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Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. The Impressionists faced harsh opposition from the art community in France. The development of Impressionism in the arts was soon followed by analogous styles in other media that became known as impressionist music. Radicals in their time, early Impressionists violated the rules of academic painting and they constructed their pictures from freely brushed colours that took precedence over lines and contours, following the example of painters such as Eugène Delacroix and J. M. W. Turner. They also painted scenes of modern life, and often painted outdoors. Previously, still lifes and portraits as well as landscapes were painted in a studio. The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air, the Impressionists, however, developed new techniques specific to the style. The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if the art critics and art establishment disapproved of the new style. In the middle of the 19th century—a time of change, as Emperor Napoleon III rebuilt Paris, the Académie was the preserver of traditional French painting standards of content and style. Historical subjects, religious themes, and portraits were valued, landscape, the Académie preferred carefully finished images that looked realistic when examined closely. Paintings in this style were made up of brush strokes carefully blended to hide the artists hand in the work. Colour was restrained and often toned down further by the application of a golden varnish, the Académie had an annual, juried art show, the Salon de Paris, and artists whose work was displayed in the show won prizes, garnered commissions, and enhanced their prestige. The standards of the juries represented the values of the Académie, represented by the works of artists as Jean-Léon Gérôme. In the early 1860s, four young painters—Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and they discovered that they shared an interest in painting landscape and contemporary life rather than historical or mythological scenes. A favourite meeting place for the artists was the Café Guerbois on Avenue de Clichy in Paris, where the discussions were led by Édouard Manet. They were soon joined by Camille Pissarro, Paul Cézanne, during the 1860s, the Salon jury routinely rejected about half of the works submitted by Monet and his friends in favour of works by artists faithful to the approved style. In 1863, the Salon jury rejected Manets The Luncheon on the Grass primarily because it depicted a woman with two clothed men at a picnic. While the Salon jury routinely accepted nudes in historical and allegorical paintings, the jurys severely worded rejection of Manets painting appalled his admirers, and the unusually large number of rejected works that year perturbed many French artists
8.
Symbolism (arts)
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Symbolism was a late nineteenth-century art movement of French, Russian and Belgian origin in poetry and other arts. In literature, the style originates with the 1857 publication of Charles Baudelaires Les Fleurs du mal, the works of Edgar Allan Poe, which Baudelaire admired greatly and translated into French, were a significant influence and the source of many stock tropes and images. The aesthetic was developed by Stéphane Mallarmé and Paul Verlaine during the 1860s and 1870s, in the 1880s, the aesthetic was articulated by a series of manifestos and attracted a generation of writers. The name symbolist itself was first applied by the critic Jean Moréas, distinct from, but related to, the style of literature, symbolism in art is related to the gothic component of Romanticism and Impressionism. In ancient Greece, the symbolon was a shard of pottery which was inscribed, Symbolism was a reaction in favour of spirituality, the imagination, and dreams. Some writers, such as Joris-Karl Huysmans, began as naturalists before becoming symbolists, for Huysmans, the Symbolist poets have a more complex relationship with Parnassianism, a French literary style that immediately preceded it. The Symbolists continued to admire Théophile Gautiers motto of art for arts sake, many Symbolist poets, including Stéphane Mallarmé and Paul Verlaine, published early works in Le Parnasse contemporain, the poetry anthologies that gave Parnassianism its name. One of Symbolisms most colourful promoters in Paris was art and literary critic Joséphin Péladan, a number of Symbolists were associated with the Salon. Symbolists believed that art should represent absolute truths that could only be described indirectly, thus, they wrote in a very metaphorical and suggestive manner, endowing particular images or objects with symbolic meaning. Jean Moréas published the Symbolist Manifesto in Le Figaro on 18 September 1886, the Symbolist Manifesto names Charles Baudelaire, Stéphane Mallarmé, and Paul Verlaine as the three leading poets of the movement. In a nutshell, as Mallarmé writes in a letter to his friend Cazalis, to not the thing. Symbolist poems were attempts to evoke, rather than primarily to describe, – both poets seek to identify one sense experience with another. The earlier Romanticism of poetry used symbols, but these symbols were unique, the symbolists were more extreme, investing all things, even vowels and perfumes, with potential symbolic value. The physical universe, then, is a kind of language that invites a privileged spectator to decipher it, Symbolist symbols are not allegories, intended to represent, they are instead intended to evoke particular states of mind. The nominal subject of Mallarmés Le cygne is of a trapped in a frozen lake. Significantly, in French, cygne is a homophone of signe, un cygne d’autrefois se souvient que c’est lui Magnifique mais qui sans espoir se délivre. They were also portrayed as at odds with society, having tragic lives and these traits were not hindrances but consequences of their literary gifts. Schopenhauers aesthetics represented shared concerns with the symbolist programme, they tended to consider Art as a contemplative refuge from the world of strife and will
9.
William Shakespeare
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William Shakespeare was an English poet, playwright, and actor, widely regarded as the greatest writer in the English language and the worlds pre-eminent dramatist. He is often called Englands national poet, and the Bard of Avon and his extant works, including collaborations, consist of approximately 38 plays,154 sonnets, two long narrative poems, and a few other verses, some of uncertain authorship. His plays have been translated into every major living language and are performed more often than those of any other playwright, Shakespeare was born and brought up in Stratford-upon-Avon, Warwickshire. At the age of 18, he married Anne Hathaway, with whom he had three children, Susanna, and twins Hamnet and Judith. Sometime between 1585 and 1592, he began a career in London as an actor, writer. He appears to have retired to Stratford around 1613, at age 49, Shakespeare produced most of his known work between 1589 and 1613. His early plays were primarily comedies and histories, which are regarded as some of the best work ever produced in these genres. He then wrote mainly tragedies until about 1608, including Hamlet, Othello, King Lear, in his last phase, he wrote tragicomedies, also known as romances, and collaborated with other playwrights. Many of his plays were published in editions of varying quality and it was prefaced with a poem by Ben Jonson, in which Shakespeare is hailed, presciently, as not of an age, but for all time. In the 20th and 21st centuries, his works have been adapted and rediscovered by new movements in scholarship. His plays remain highly popular and are studied, performed. William Shakespeare was the son of John Shakespeare, an alderman and a successful glover originally from Snitterfield, and Mary Arden and he was born in Stratford-upon-Avon and baptised there on 26 April 1564. His actual date of birth unknown, but is traditionally observed on 23 April. This date, which can be traced back to an 18th-century scholars mistake, has proved appealing to biographers because Shakespeare died on 23 April 1616 and he was the third child of eight and the eldest surviving son. At the age of 18, Shakespeare married 26-year-old Anne Hathaway, the consistory court of the Diocese of Worcester issued a marriage licence on 27 November 1582. The next day, two of Hathaways neighbours posted bonds guaranteeing that no lawful claims impeded the marriage, twins, son Hamnet and daughter Judith, followed almost two years later and were baptised 2 February 1585. Hamnet died of unknown causes at the age of 11 and was buried 11 August 1596, after the birth of the twins, Shakespeare left few historical traces until he is mentioned as part of the London theatre scene in 1592. The exception is the appearance of his name in the bill of a law case before the Queens Bench court at Westminster dated Michaelmas Term 1588 and 9 October 1589
10.
Walter Scott
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Sir Walter Scott, 1st Baronet, FRSE was a Scottish historical novelist, playwright and poet. Many of his works remain classics of both English-language literature and of Scottish literature, famous titles include Ivanhoe, Rob Roy, Old Mortality, The Lady of the Lake, Waverley, The Heart of Midlothian and The Bride of Lammermoor. A prominent member of the Tory establishment in Edinburgh, Scott was an member of the Highland Society. He survived a bout of polio in 1773 that left him lame. To cure his lameness he was sent in 1773 to live in the rural Scottish Borders at his grandparents farm at Sandyknowe, adjacent to the ruin of Smailholm Tower. Here he was taught to read by his aunt Jenny, and learned from her the speech patterns and many of the tales and legends that characterised much of his work. In January 1775 he returned to Edinburgh, and that went with his aunt Jenny to take spa treatment at Bath in England. In the winter of 1776 he went back to Sandyknowe, with another attempt at a cure at Prestonpans during the following summer. In 1778, Scott returned to Edinburgh for private education to him for school. In October 1779 he began at the Royal High School of Edinburgh and he was now well able to walk and explore the city and the surrounding countryside. His reading included chivalric romances, poems, history and travel books and he was given private tuition by James Mitchell in arithmetic and writing, and learned from him the history of the Church of Scotland with emphasis on the Covenanters. Scott began studying classics at the University of Edinburgh in November 1783, at the age of 12, in March 1786 he began an apprenticeship in his fathers office to become a Writer to the Signet. While at the university Scott had become a friend of Adam Ferguson, Scott met the blind poet Thomas Blacklock, who lent him books and introduced him to James Macphersons Ossian cycle of poems. During the winter of 1786–87 the 15-year-old Scott saw Robert Burns at one of these salons, for what was to be their only meeting. When Burns noticed a print illustrating the poem The Justice of the Peace and asked who had written the poem, only Scott knew that it was by John Langhorne, and was thanked by Burns. When it was decided that he would become a lawyer, he returned to the university to study law, first taking classes in Moral Philosophy, after completing his studies in law, he became a lawyer in Edinburgh. As a lawyers clerk he made his first visit to the Scottish Highlands directing an eviction and he was admitted to the Faculty of Advocates in 1792. He had an unsuccessful love suit with Williamina Belsches of Fettercairn, as a boy, youth and young man, Scott was fascinated by the oral traditions of the Scottish Borders
11.
Johann Wolfgang von Goethe
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Johann Wolfgang von Goethe was a German writer and statesman. In addition, numerous literary and scientific fragments, more than 10,000 letters and he was an early participant in the Sturm und Drang literary movement. He also contributed to the planning of Weimars botanical park and the rebuilding of its Ducal Palace and his first major scientific work, the Metamorphosis of Plants, was published after he returned from a 1788 tour of Italy. During this period, Goethe published his novel, Wilhelm Meisters Apprenticeship, the verse epic Hermann and Dorothea, and, in 1808. Goethes comments and observations form the basis of several biographical works, Goethes father, Johann Caspar Goethe, lived with his family in a large house in Frankfurt, then an Imperial Free City of the Holy Roman Empire. Though he had studied law in Leipzig and had been appointed Imperial Councillor, Johann Caspar married Goethes mother, Catharina Elizabeth Textor at Frankfurt on 20 August 1748, when he was 38 and she was 17. All their children, with the exception of Johann Wolfgang and his sister, Cornelia Friederica Christiana and his father and private tutors gave Goethe lessons in all the common subjects of their time, especially languages. Goethe also received lessons in dancing, riding and fencing, Johann Caspar, feeling frustrated in his own ambitions, was determined that his children should have all those advantages that he had not. Although Goethes great passion was drawing, he became interested in literature, Friedrich Gottlieb Klopstock. He also took pleasure in reading works on history and religion. He writes about this period, Goethe became also acquainted with Frankfurt actors, among early literary attempts, he was infatuated with Gretchen, who would later reappear in his Faust and the adventures with whom he would concisely describe in Dichtung und Wahrheit. He adored Caritas Meixner, a wealthy Worms traders daughter and friend of his sister, Goethe studied law at Leipzig University from 1765 to 1768. He detested learning age-old judicial rules by heart, preferring instead to attend the lessons of Christian Fürchtegott Gellert. In Leipzig, Goethe fell in love with Anna Katharina Schönkopf, in 1770, he anonymously released Annette, his first collection of poems. His uncritical admiration for many contemporary poets vanished as he became interested in Gotthold Ephraim Lessing, already at this time, Goethe wrote a good deal, but he threw away nearly all of these works, except for the comedy Die Mitschuldigen. The restaurant Auerbachs Keller and its legend of Fausts 1525 barrel ride impressed him so much that Auerbachs Keller became the real place in his closet drama Faust Part One. As his studies did not progress, Goethe was forced to return to Frankfurt at the close of August 1768, Goethe became severely ill in Frankfurt. During the year and a half that followed, because of several relapses, during convalescence, Goethe was nursed by his mother and sister
12.
Neoclassicism
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The main Neoclassical movement coincided with the 18th-century Age of Enlightenment, and continued into the early 19th century, laterally competing with Romanticism. In architecture, the style continued throughout the 19th, 20th, European Neoclassicism in the visual arts began c.1760 in opposition to the then-dominant Baroque and Rococo styles. Each neo-classicism selects some models among the range of classics that are available to it. They ignored both Archaic Greek art and the works of Late Antiquity, the Rococo art of ancient Palmyra came as a revelation, through engravings in Woods The Ruins of Palmyra. While the movement is described as the opposed counterpart of Romanticism. The case of the main champion of late Neoclassicism, Ingres, demonstrates this especially well. The revival can be traced to the establishment of formal archaeology, the writings of Johann Joachim Winckelmann were important in shaping this movement in both architecture and the visual arts. With the advent of the Grand Tour, a fad of collecting antiquities began that laid the foundations of many great collections spreading a Neoclassical revival throughout Europe, Neoclassicism in each art implies a particular canon of a classical model. In English, the term Neoclassicism is used primarily of the arts, the similar movement in English literature. This, which had been dominant for decades, was beginning to decline by the time Neoclassicism in the visual arts became fashionable. Though terms differ, the situation in French literature was similar, in music, the period saw the rise of classical music, and Neoclassicism is used of 20th-century developments. Ingress coronation portrait of Napoleon even borrowed from Late Antique consular diptychs and their Carolingian revival, much Neoclassical painting is more classicizing in subject matter than in anything else. A fierce, but often very badly informed, dispute raged for decades over the merits of Greek and Roman art, with Winckelmann. The work of artists, who could not easily be described as insipid, combined aspects of Romanticism with a generally Neoclassical style. Unlike Carstens unrealized schemes, the etchings of Giovanni Battista Piranesi were numerous and profitable and his main subject matter was the buildings and ruins of Rome, and he was more stimulated by the ancient than the modern. Neoclassicism in painting gained a new sense of direction with the success of Jacques-Louis Davids Oath of the Horatii at the Paris Salon of 1785. Despite its evocation of republican virtues, this was a commission by the royal government, David managed to combine an idealist style with drama and forcefulness. David rapidly became the leader of French art, and after the French Revolution became a politician with control of government patronage in art
13.
Jean-Auguste-Dominique Ingres
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Jean-Auguste-Dominique Ingres was a French Neoclassical painter. A man profoundly respectful of the past, he assumed the role of a guardian of orthodoxy against the ascendant Romantic style represented by his nemesis. His exemplars, he explained, were the great masters which flourished in that century of glorious memory when Raphael set the eternal. I am thus a conservator of good doctrine, and not an innovator, Ingres was born in Montauban, Tarn-et-Garonne, France, the first of seven children of Jean-Marie-Joseph Ingres and his wife Anne Moulet. From his father the young Ingres received early encouragement and instruction in drawing and music, and his first known drawing, the deficiency in his schooling would always remain for him a source of insecurity. In 1791, Joseph Ingres took his son to Toulouse, where the young Jean-Auguste-Dominique was enrolled in the Académie Royale de Peinture, Sculpture et Architecture, there he studied under the sculptor Jean-Pierre Vigan, the landscape painter Jean Briant, and the neoclassical painter Guillaume-Joseph Roques. Roques veneration of Raphael was an influence on the young artist. Ingres won prizes in several disciplines, such as composition, figure and antique and his musical talent was developed under the tutelage of the violinist Lejeune, and from the ages of thirteen to sixteen he played second violin in the Orchestre du Capitole de Toulouse. Ingres followed his masters neoclassical example but revealed, according to David and his trip to Rome, however, was postponed until 1806, when the financially strained government finally appropriated the travel funds. Working in Paris alongside several other students of David in a provided by the state. He found inspiration in the works of Raphael, in Etruscan vase paintings, in 1802 he made his debut at the Salon with Portrait of a Woman. The following year brought a commission, when Ingres was one of five artists selected to paint full-length portraits of Napoleon Bonaparte as First Consul. These were to be distributed to the towns of Liège, Antwerp, Dunkerque, Brussels. In the summer of 1806 Ingres became engaged to Marie-Anne-Julie Forestier, although he had hoped to stay in Paris long enough to witness the opening of that years Salon, in which he was to display several works, he reluctantly left for Italy just days before the opening. Chaussard condemned Ingress style as gothic and asked, How, with so much talent, a line so flawless, the answer is that he wanted to do something singular, something extraordinary. M. Ingress intention is nothing less than to make art regress by four centuries, to carry us back to its infancy, Ingres stylistic eclecticism represented a new tendency in art. As art historian Marjorie Cohn has written, At the time, Artists and critics outdid each other in their attempts to identify, interpret, and exploit what they were just beginning to perceive as historical stylistic developments. From the beginning of his career, Ingres freely borrowed from earlier art, adopting the style appropriate to his subject
14.
Peter Paul Rubens
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Sir Peter Paul Rubens was a Flemish/Netherlandish draughtsman and painter. He is widely considered as the most notable artist of Flemish Baroque art school, the catalogue of his works by Michael Jaffé lists 1,403 pieces, excluding numerous copies made in his workshop. His commissioned works were mostly history paintings, which included religious and mythological subjects and he painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house and he also oversaw the ephemeral decorations of the royal entry into Antwerp by the Cardinal-Infante Ferdinand in 1635. His drawings are mostly extremely forceful but not overly detailed and he also made great use of oil sketches as preparatory studies. For altarpieces he painted on slate to reduce reflection problems. Rubens was born in the city of Siegen to Jan Rubens and he was named in honour of Saint-Peter and Paul, because he was born on their solemnety. His father, a Calvinist, and mother fled Antwerp for Cologne in 1568, after increased religious turmoil and persecution of Protestants during the rule of the Spanish Netherlands by the Duke of Alba. Jan Rubens became the adviser of Anna of Saxony, the second wife of William I of Orange. Following Jan Rubens imprisonment for the affair, Peter Paul Rubens was born in 1577, the family returned to Cologne the next year. In 1589, two years after his fathers death, Rubens moved with his mother Maria Pypelincks to Antwerp, religion figured prominently in much of his work and Rubens later became one of the leading voices of the Catholic Counter-Reformation style of painting. In Antwerp, Rubens received a Renaissance humanist education, studying Latin, by fourteen he began his artistic apprenticeship with Tobias Verhaeght. Subsequently, he studied under two of the leading painters of the time, the late Mannerist artists Adam van Noort. Much of his earliest training involved copying earlier works, such as woodcuts by Hans Holbein the Younger. Rubens completed his education in 1598, at time he entered the Guild of St. Luke as an independent master. In 1600 Rubens travelled to Italy and he stopped first in Venice, where he saw paintings by Titian, Veronese, and Tintoretto, before settling in Mantua at the court of Duke Vincenzo I Gonzaga. The colouring and compositions of Veronese and Tintoretto had an effect on Rubenss painting. With financial support from the Duke, Rubens travelled to Rome by way of Florence in 1601, there, he studied classical Greek and Roman art and copied works of the Italian masters
15.
Renaissance
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The Renaissance was a period in European history, from the 14th to the 17th century, regarded as the cultural bridge between the Middle Ages and modern history. It started as a movement in Italy in the Late Medieval period and later spread to the rest of Europe. This new thinking became manifest in art, architecture, politics, science, Early examples were the development of perspective in oil painting and the recycled knowledge of how to make concrete. Although the invention of movable type sped the dissemination of ideas from the later 15th century. In politics, the Renaissance contributed to the development of the customs and conventions of diplomacy, the Renaissance began in Florence, in the 14th century. Other major centres were northern Italian city-states such as Venice, Genoa, Milan, Bologna, the word Renaissance, literally meaning Rebirth in French, first appeared in English in the 1830s. The word also occurs in Jules Michelets 1855 work, Histoire de France, the word Renaissance has also been extended to other historical and cultural movements, such as the Carolingian Renaissance and the Renaissance of the 12th century. The Renaissance was a movement that profoundly affected European intellectual life in the early modern period. Renaissance scholars employed the humanist method in study, and searched for realism, however, a subtle shift took place in the way that intellectuals approached religion that was reflected in many other areas of cultural life. In addition, many Greek Christian works, including the Greek New Testament, were back from Byzantium to Western Europe. Political philosophers, most famously Niccolò Machiavelli, sought to describe life as it really was. Others see more competition between artists and polymaths such as Brunelleschi, Ghiberti, Donatello, and Masaccio for artistic commissions as sparking the creativity of the Renaissance. Yet it remains much debated why the Renaissance began in Italy, accordingly, several theories have been put forward to explain its origins. During the Renaissance, money and art went hand in hand, Artists depended entirely on patrons while the patrons needed money to foster artistic talent. Wealth was brought to Italy in the 14th, 15th, and 16th centuries by expanding trade into Asia, silver mining in Tyrol increased the flow of money. Luxuries from the Eastern world, brought home during the Crusades, increased the prosperity of Genoa, unlike with Latin texts, which had been preserved and studied in Western Europe since late antiquity, the study of ancient Greek texts was very limited in medieval Western Europe. One of the greatest achievements of Renaissance scholars was to bring this entire class of Greek cultural works back into Western Europe for the first time since late antiquity, Arab logicians had inherited Greek ideas after they had invaded and conquered Egypt and the Levant. Their translations and commentaries on these ideas worked their way through the Arab West into Spain and Sicily and this work of translation from Islamic culture, though largely unplanned and disorganized, constituted one of the greatest transmissions of ideas in history
16.
Lord Byron
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George Gordon Byron, 6th Baron Byron, FRS, commonly known simply as Lord Byron, was a British poet, peer, politician, and a leading figure in the Romantic movement. Among his best-known works are the narrative poems, Don Juan and Childe Harolds Pilgrimage. Byron is regarded as one of the greatest British poets and remains widely read and influential and he travelled extensively across Europe, especially in Italy, where he lived for seven years with the struggling poet Percy Bysshe Shelley. Later in his life, Byron joined the Greek War of Independence fighting the Ottoman Empire. He died in 1824 at the age of 36 from a fever contracted while in Missolonghi, ethel Colburn Mayne states that George Gordon Byron was born on 22 January 1788 in a house on 24 Holles Street in London. However, Robert Charles Dallas in his Recollections states that Byron was born in Dover and he was the son of Captain John Mad Jack Byron and his second wife, the former Catherine Gordon, a descendant of Cardinal Beaton and heiress of the Gight estate in Aberdeenshire, Scotland. Byrons father had seduced the married Marchioness of Carmarthen and, after she divorced her husband. His treatment of her was described as brutal and vicious, in order to claim his second wifes estate in Scotland, Byrons father took the additional surname Gordon, becoming John Byron Gordon, and he was occasionally styled John Byron Gordon of Gight. Byron himself used this surname for a time and was registered at school in Aberdeen as George Byron Gordon, at the age of 10, he inherited the English Barony of Byron of Rochdale, becoming Lord Byron, and eventually dropped the double surname. Byrons paternal grandparents were Vice-Admiral the Hon. John Foulweather Jack Byron, vice Admiral John Byron had circumnavigated the globe, and was the younger brother of the 5th Baron Byron, known as the Wicked Lord. He was christened, at St Marylebone Parish Church, George Gordon Byron after his maternal grandfather George Gordon of Gight, a descendant of James I of Scotland, Mad Jack Byron married his second wife for the same reason that he married his first, her fortune. In a move to avoid his creditors, Catherine accompanied her husband to France in 1786. He was born on 22 January in lodgings at Holles Street in London, Catherine moved back to Aberdeenshire in 1790, where Byron spent his childhood. His father soon joined them in their lodgings in Queen Street, Catherine regularly experienced mood swings and bouts of melancholy, which could be partly explained by her husbands continuing to borrow money from her. As a result, she fell even further into debt to support his demands and it was one of these importunate loans that allowed him to travel to Valenciennes, France, where he died in 1791. When Byrons great-uncle, the wicked Lord Byron, died on 21 May 1798, described as a woman without judgment or self-command, Catherine either spoiled and indulged her son or vexed him with her capricious stubbornness. Her drinking disgusted him, and he often mocked her for being short and corpulent and she once retaliated and, in a fit of temper, referred to him as a lame brat. Langley-Moore questions the Galt claim that she over-indulged in alcohol, upon the death of Byrons mother-in-law Judith Noel, the Hon
17.
Charles Baudelaire
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Charles Pierre Baudelaire was a French poet who also produced notable work as an essayist, art critic, and pioneering translator of Edgar Allan Poe. His most famous work, Les Fleurs du mal, expresses the nature of beauty in modern. Baudelaires highly original style of prose-poetry influenced a generation of poets including Paul Verlaine, Arthur Rimbaud. He is credited with coining the term modernity to designate the fleeting, ephemeral experience of life in a metropolis. This obsessive idea is all a child of giant cities. Baudelaire is one of the innovators in French literature. He made Paris the subject of modern poetry and he would bring the citys details to life in the eyes and hearts of his readers. Baudelaire was born in Paris, France, on April 9,1821 and his father, François Baudelaire, a senior civil servant and amateur artist, was 34 years older than Baudelaires mother, Caroline. François died during Baudelaires childhood, in 1827, the following year, Caroline married Lieutenant Colonel Jacques Aupick, who later became a French ambassador to various noble courts. He stated in a letter to her that, There was in my childhood a period of passionate love for you, Baudelaire regularly begged his mother for money throughout his career, often promising that a lucrative publishing contract or journalistic commission was just around the corner. Baudelaire was educated in Lyon, where he boarded, Baudelaire was erratic in his studies, at times diligent, at other times prone to idleness. Later, he attended the Lycée Louis-le-Grand in Paris, studying law and he began to frequent prostitutes and may have contracted gonorrhea and syphilis during this period. He also began to run up debts, mostly for clothes, upon gaining his degree in 1839, he told his brother I dont feel I have a vocation for anything. His stepfather had in mind a career in law or diplomacy and his mother later recalled, Oh, what grief. If Charles had let himself be guided by his stepfather, his career would have very different. He would not have left a name in literature, it is true and his stepfather sent him on a voyage to Calcutta, India, in 1841 in the hope of ending his dissolute habits. The trip provided strong impressions of the sea, sailing, and exotic ports, on returning to the taverns of Paris, he began to compose some of the poems of Les Fleurs du Mal. At 21, he received an inheritance but squandered much of it within a few years
18.
Old Master
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In art history, Old Master refers to any painter of skill who worked in Europe before about 1800, or a painting by such an artist. An old master print is a print made by an artist in the same period. The term old master drawing is used in the same way, therefore, beyond a certain level of competence, date rather than quality is the criterion for using the term. The Oxford English Dictionary defines the term as A pre-eminent artist of the period before the modern, a pre-eminent western European painter of the 13th to 18th centuries. The term is used to refer to a painting or sculpture made by an Old Master. Les Maitres dautrefois of 1876 by Eugene Fromentin may have helped to popularize the concept, the collection in the Dresden museum essentially stops at the Baroque period. The end date is necessarily vague – for example, Goya is certainly an Old Master, the term might also be used for John Constable or Eugène Delacroix, but usually is not. The term tends to be avoided by art historians as too vague, especially when discussing paintings, although the terms Old Master Prints and it remains current in the art trade. Auction houses still usually divide their sales between, for example, Old Master Paintings, Nineteenth-century paintings and Modern paintings, christies defines the term as ranging from the 14th to the early 19th century. S. Master of Flémalle, Master of Mary of Burgundy, Master of Latin 757, Master of the Brunswick Diptych or Master of Schloss Lichtenstein
19.
Charles-Henri Delacroix
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Charles-Henri Delacroix was a French soldier who became a general in the Napoleonic army. He was the brother of the painter Eugène Delacroix. Charles-Henri Delacroix was born in Paris on 9 January 1779 and his father was Charles-François Delacroix, minister of Foreign Affairs under the Directory. His sister Henriette was born in 1780 and she married the diplomat Raymond de Verninac Saint-Maur. His brother Henri was born six year later and he was killed at the Battle of Friedland on 14 June 1807. His youngest brother was the future painter Eugène Delacroix, born twenty years after him, on 4 November 1793 Delacroix enlisted as a naval volunteer. He became a first class ensign on 27 April 1794, and was discharged in 1796, on 8 January 1799 he enlisted as a second lieutenant in the 9th Chasseurs-a-Cheval Regiment. He participated in the campaign of the Army of Italy that year, general Joubert promoted him to Lieutenant on 13 August 1799 in recognition of his gallantry. On 3 January 1800 he was accepted as Lieutenant in the Chasseurs-a-Cheval Regiment of the Consular Guard and he fought with distinction at the Battle of Marengo. On 26 October 1800 he was promoted to Captain, on 6 June 1805 he was promoted to Major, and became an aide to Prince Eugène de Beauharnais. He participated in the Italian campaigns of 1805-06, on 20 August 1808 he was appointed Colonel of the 9th Chasseurs-a-Cheval Regiment. He participated in the 1809 campaign in Italy and Austria and he was again made an aide to Prince Eugene on 10 July 1809. He participated in the 1812 campaign in Russia and he was wounded at the crossing of the Dvina and sent to the hospital at Vilna. He was taken there in December 1812. Delacroix returned to France after Napoleon abdicated in 1814 and was placed on the non-active list, on 10 March 1815 he was made honorary Brigadier-General. He was allowed to retire on 2 March 1816 and he died in Bordeaux on 30 December 1845
20.
Henriette de Verninac
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Henriette de Verninac was the daughter of Charles-François Delacroix, minister of Foreign Affairs under the Directory, and wife of the diplomat Raymond de Verninac Saint-Maur. She is known as the subject of a portrait by Jacques-Louis David, Henriette de Verninac was born in 1780. Her father was Charles-François Delacroix, minister of Foreign Affairs under the Directory and she was the second of four children. Her older brother Charles was a general during the First French Empire and her youngest brother was the future painter Eugène Delacroix, born eighteen years after her. In 1798 Henriette married Raymond de Verninac-Saint-Maur and he was one of the three commissioners who had been delegated to settle the annexation of Avignon in 1791. Raymond de Verninac was Minister to Sweden from 1792 until 1793, from 1795-97 he was Minister to the Porte of Sultan Selim III. During the Consulate Verninac was Prefect of the Rhône department, in 1808 Joseph Chinard sculpted Henriette as Diana the Huntress Preparing Her Arrows. Jacques-Louis David painted a portrait of her in 1799, the sensual painting in neo-classical style depicts Henriette in the classical costume popular during the Directory. Both of these works are now held by the Musée du Louvre, from 1802-05 Raymond de Verninac was French representative to Switzerland, after which he retired from the diplomatic service. Charles Étienne Raymond Victor de Verninac was born in Paris on 19 November 1803, Henriettes father died in November 1805. Her second brother Henri died in 1807 in the Battle of Friedland, when her mother, Victoire Oeben, died in 1814 it was found that family estate was fully mortgaged, and his attorney had been stealing from it. Rather than being worth 800,000 francs as thought, the estate was in debt by 175,000 francs, the couple took care of Eugène Delacroix in 1814 after the death of their mother. Delacroix met his first love at Henriettes house and his portrait of the young Englishwoman Elisabeth Salter was painted in 1817. He became attached to his nephew, Charles, who was just five years younger than him, when Charles came to Paris to attend the Lycée Louis-le-Grand, Delacroix acted as his informal guardian. Henriettes husband died on 23 April 1822, with the trial over her fathers estate not yet settled, Henriette was ruined and forced to work to survive. She offered her services to the house of education of the Legion of Honour and she died in Paris in 1827. Delacroix became owner of the painting by David and he kept it for the rest of his life
21.
Battle of Friedland
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Napoleon and the French obtained a decisive victory that routed much of the Russian army, which retreated chaotically over the Alle River by the end of the fighting. The battlefield is located in modern-day Kaliningrad Oblast, near the town of Pravdinsk, the engagement at Friedland was a strategic necessity after the Battle of Eylau earlier in 1807 had failed to yield a decisive verdict for either side. The battle began when Bennigsen noticed the seemingly isolated corps of Marshal Lannes at the town of Friedland, Lannes held his ground against determined Russian attacks until Napoleon could bring additional forces onto the field. By late afternoon, the French had amassed a force of 80,000 troops on the battlefield, relying on superior numbers, Napoleon concluded that the moment had come and ordered a massive assault against the Russian left flank. The sustained French attack pushed back the Russian army and pressed them against the river behind, unable to withstand the pressure, the Russians broke and started escaping across the Alle, where an unknown number of them died from drowning. The Russian army suffered casualties at Friedland–losing over 40% of its soldiers on the battlefield. Napoleons overwhelming victory was enough to convince the Russian political establishment that peace was necessary, Friedland effectively ended the War of the Fourth Coalition, as Emperor Alexander I reluctantly entered peace negotiations with Napoleon. The lands lost by Prussia were converted into the new Kingdom of Westphalia, Tilsit also gave France control of the Ionian Islands, a vital and strategic entry point into the Mediterranean Sea. Some historians regard the political settlements at Tilsit as the height of Napoleons empire because there was no longer any continental power challenging the French domination of Europe, prior to Friedland, Europe had become embroiled in the War of the Third Coalition in 1805. Following the French victory at the Battle of Austerlitz in December 1805, franco-Prussian tensions gradually increased after Austerlitz. Napoleon insisted that Prussia should join his economic blockade of Great Britain and this adversely affected the German merchant class. Napoleon aimed to win the war by destroying the Prussian armies before the Russians could arrive,180,000 French troops began to cross the Franconian forest on October 2,1806, deployed in a bataillon-carré system designed to meet threats from any possible direction. On October 14 the French won decisively at the large double-battle of Jena-Auerstedt, a famous pursuit followed, and by the end of the campaign the Prussians had lost 25,000 killed and wounded,140,000 prisoners, and more than 2,000 cannon. A few Prussian units managed to cross the Oder River into Poland, Russia now had to face France alone. By November 18 French forces under Louis Nicolas Davout had covered half the distance to Warsaw, Augereaus men had neared Bromberg, when the French arrived in Poland, the local people hailed them as liberators. The Russian general Bennigsen worried that French forces might cut him off from Buxhoevdens army, so he abandoned Warsaw, on November 28,1806, French troops under Murat entered Warsaw. The French pursued the fleeing Russians and a significant battle developed around Pułtusk on December 26. The result remained in doubt, but Bennigsen wrote to the Tsar that he had defeated 60,000 French troops, at this point, Marshal Ney began to extend his forces to procure food supplies
22.
Bourbon Restoration
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The Bourbon Restoration was the period of French history following the fall of Napoleon in 1814 until the July Revolution of 1830. The brothers of executed Louis XVI of France reigned in highly conservative fashion, and they were nonetheless unable to reverse most of the changes made by the French Revolution and Napoleon. At the Congress of Vienna they were treated respectfully, but had to give up all the gains made since 1789. King Louis XVI of the House of Bourbon had been overthrown and executed during the French Revolution, a coalition of European powers defeated Napoleon in the War of the Sixth Coalition, ended the First Empire in 1814, and restored the monarchy to the brothers of Louis XVI. The Bourbon Restoration lasted from 6 April 1814 until the uprisings of the July Revolution of 1830. There was an interlude in spring 1815—the Hundred Days—when the return of Napoleon forced the Bourbons to flee France, when Napoleon was again defeated by the Seventh Coalition they returned to power in July. During the Restoration, the new Bourbon regime was a monarchy, unlike the absolutist Ancien Régime. The period was characterized by a conservative reaction, and consequent minor but consistent occurrences of civil unrest. It also saw the reestablishment of the Catholic Church as a power in French politics. The eras of the French Revolution and Napoleon brought a series of changes to France which the Bourbon Restoration did not reverse. First of all, France became highly centralized, with all decisions made in Paris, the political geography was completely reorganized and made uniform. France was divided more than 80 departments, which have endured into the 21st century. Each department had an administrative structure, and was tightly controlled by a prefect appointed by Paris. The Catholic Church lost all its lands and buildings during the Revolution, the bishop still ruled his diocese, and communicated with the pope through the government in Paris. Bishops, priests, nuns and other people were paid salaries by the state. All the old rites and ceremonies were retained, and the government maintained the religious buildings. The Church was allowed to operate its own seminaries and to some extent local schools as well, bishops were much less powerful than before, and had no political voice. However, the Catholic Church reinvented itself and put a new emphasis on personal religiosity that gave it a hold on the psychology of the faithful, education was centralized, with the Grand Master of the University of France controlling every element of the entire educational system from Paris
23.
Louis Philippe I
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Louis Philippe I was King of the French from 1830 to 1848 as the leader of the Orléanist party. He spent 21 years in exile after he left France in 1793 and he was proclaimed king in 1830 after his cousin Charles X was forced to abdicate in the wake of the events of the July Revolution of that year. His government, known as the July Monarchy, was dominated by members of a wealthy French elite and he followed conservative policies, especially under the influence of the French statesman François Guizot during the period 1840–48. He also promoted friendship with Britain and sponsored colonial expansion, notably the conquest of Algeria and his popularity faded as economic conditions in France deteriorated in 1847, and he was forced to abdicate after the outbreak of the French Revolution of 1848. He lived out his life in exile in Great Britain, Louis Philippe was born in the Palais Royal, the residence of the Orléans family in Paris, to Louis Philippe, Duke of Chartres, and Louise Marie Adélaïde de Bourbon. As a member of the reigning House of Bourbon, he was a Prince of the Blood and his mother was an extremely wealthy heiress who was descended from Louis XIV of France through a legitimized line. Louis Philippe was the eldest of three sons and a daughter, a family that was to have erratic fortunes from the beginning of the French Revolution to the Bourbon Restoration. Louis Philippes father was exiled from the court, and the Orléans confined themselves to studies of the literature. Louis Philippe was tutored by the Countess of Genlis, beginning in 1782 and she instilled in him a fondness for liberal thought, it is probably during this period that Louis Philippe picked up his slightly Voltairean brand of Catholicism. When Louis Philippes grandfather died in 1785, his father succeeded him as Duke of Orléans, from October 1788 to October 1789, the Palais Royal was a meeting-place for the revolutionaries. Louis Philippe grew up in a period that changed Europe as a whole and, following his fathers support for the Revolution. In his diary, he reports that he took the initiative to join the Jacobin Club. In June 1791, Louis Philippe got his first opportunity to become involved in the affairs of France, in 1785, he had been given the hereditary appointment of Colonel of the 14th Regiment of Dragoons. With war on the horizon in 1791, all proprietary colonels were ordered to join their regiments, Louis Philippe showed himself to be a model officer, and he demonstrated his personal bravery in two famous instances. The young colonel broke through the crowd and extricated the two priests, who then fled, at a river crossing on the same day, another crowd threatened to harm the priests. Louis Philippe put himself between a peasant armed with a carbine and the priests, saving their lives, the next day, Louis Philippe dove into a river to save a drowning local engineer. For this action, he received a crown from the local municipality. His regiment was moved north to Flanders at the end of 1791 after the Declaration of Pillnitz, Louis Philippe served under his fathers crony, the Duke of Biron, along with several officers who later gained distinction in Napoleons empire and afterwards
24.
Charles de Morny, Duke of Morny
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Charles Auguste Louis Joseph Demorny/de Morny, 1er Duc de Morny was a French statesman. He was the son of Hortense de Beauharnais and Charles Joseph, Comte de Flahaut, making him half-brother of Emperor Napoleon III. M. Demorny was in fact an officer in the Prussian army and his father was in fact Charles de Flahaut. His mother, Hortense de Beauharnais was the stepdaughter of Napoléon Bonaparte and he was educated by his grandmother, Adelaïde Filleul. After a brilliant school and college career the future duc de Morny received a commission in the army, and the next year he entered the staff college. The comte de Morny, as he was called by a fiction, served in Algeria in 1834–1835 as aide-de-camp to General Camille Alphonse Trezel. In these and other lucrative speculations he was helped by his mistress Françoise Mosselman, eventually there were few great commercial enterprises in Paris in which he did not have an interest. Although he sat as deputy for Clermont-Ferrand from 1842 onwards, he took at first no important part in party politics, but he was heard with respect on industrial and financial questions. His attitude was expressed by the witticism with which he is said to have replied to a lady who asked what he would do if the Chamber were swept out, range myself on the side of the broom handle, was his answer. He then resumed his financial speculations, when in 1854 the Emperor appointed him president of the Corps Législatif, a position which he filled for the rest of his life, he used his official rank to assist his schemes. His wifes connections greatly strengthened his social position, sophie was legally daughter of Prince Sergey Vasilyevich Trubetskoy, but may have been the illegitimate daughter of Nicholas I of Russia. In 1862, Morny was created a Duke and it is said that he aspired to the throne of Mexico, and that the French expedition sent to place Archduke Maximilian on the throne was prompted by Napoleon IIIs desire to thwart this ambition. But while he was laying the foundations of the Liberal Empire his health deteriorated and was injured by quack medicines. The emperor and the empress visited him just before his death in Paris on 10 March 1865, mornys valuable collection of pictures, including Jean-Honoré Fragonards The Swing, was sold after his death. Morny played an important role in the development of the horse racing and breeding industry in France. In 1860, he purchased the English Triple Crown champion West Australian, in 1862 Morny built the Deauville-La Touques Race Course near Deauville. The Prix Morny is named in his honor, in 1832, the Count took the French Romantic painter Eugène Delacroix with him on a diplomatic mission to Tangier, exposing the artist to life outside of cloudy, overcast Paris. He married María de la Purificación Dorticos-Marín y León, Marquesa de Marín, Auguste Charles Louis Valentin de Morny, who succeeded his father as the 2nd Duc de Morny
25.
Napoleon III
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Louis-Napoléon Bonaparte was the only President of the French Second Republic and, as Napoleon III, the Emperor of the Second French Empire. He was the nephew and heir of Napoleon I and he was the first President of France to be elected by a direct popular vote. He remains the longest-serving French head of state since the French Revolution, during the first years of the Empire, Napoleons government imposed censorship and harsh repressive measures against his opponents. Some six thousand were imprisoned or sent to penal colonies until 1859, thousands more went into voluntary exile abroad, including Victor Hugo. From 1862 onwards, he relaxed government censorship, and his came to be known as the Liberal Empire. Many of his opponents returned to France and became members of the National Assembly, Napoleon III is best known today for his grand reconstruction of Paris, carried out by his prefect of the Seine, Baron Haussmann. He launched similar public works projects in Marseille, Lyon, Napoleon III modernized the French banking system, greatly expanded and consolidated the French railway system, and made the French merchant marine the second largest in the world. He promoted the building of the Suez Canal and established modern agriculture, Napoleon III negotiated the 1860 Cobden–Chevalier free trade agreement with Britain and similar agreements with Frances other European trading partners. Social reforms included giving French workers the right to strike and the right to organize, womens education greatly expanded, as did the list of required subjects in public schools. In foreign policy, Napoleon III aimed to reassert French influence in Europe and he was a supporter of popular sovereignty and of nationalism. In Europe, he allied with Britain and defeated Russia in the Crimean War and his regime assisted Italian unification and, in doing so, annexed Savoy and the County of Nice to France, at the same time, his forces defended the Papal States against annexation by Italy. Napoleon doubled the area of the French overseas empire in Asia, the Pacific, on the other hand, his armys intervention in Mexico which aimed to create a Second Mexican Empire under French protection ended in failure. Beginning in 1866, Napoleon had to face the power of Prussia. In July 1870, Napoleon entered the Franco-Prussian War without allies, the French army was rapidly defeated and Napoleon III was captured at the Battle of Sedan. The French Third Republic was proclaimed in Paris, and Napoleon went into exile in England, charles-Louis Napoleon Bonaparte, later known as Louis Napoleon and then Napoleon III, was born in Paris on the night of 20–21 April 1808. His presumed father was Louis Bonaparte, the brother of Napoleon Bonaparte. His mother was Hortense de Beauharnais, the daughter by the first marriage of Napoleons wife Joséphine de Beauharnais, as empress, Joséphine proposed the marriage as a way to produce an heir for the Emperor, who agreed, as Joséphine was by then infertile. Louis married Hortense when he was twenty-four and she was nineteen and they had a difficult relationship, and only lived together for brief periods
26.
Speaker (politics)
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The speaker of a deliberative assembly, especially a legislative body, is its presiding officer. The title was first used in 1399 in England, the speakers official role is to moderate debate, make rulings on procedure, announce the results of votes, and the like. The speaker decides who may speak and has the powers to members who break the procedures of the chamber or house. The speaker often also represents the body in person, as the voice of the body in ceremonial, the title was first recorded in 1377 to describe the role of Thomas de Hungerford in the Parliament of England. By convention, speakers are normally addressed in Parliament as Mister Speaker, if a man, or Madam Speaker, in other cultures other styles are used, mainly being equivalents of English chairman or president. Many bodies also have a pro tempore, designated to fill in when the speaker is not available. The Speaker of the Australian House of Representatives is the officer of the Australian House of Representatives. The President of the Australian Senate is the officer of the Australian Senate. Now constitutional community highlights changes also in this role, in Canada, the Speaker of the House of Commons is the individual elected to preside over the House of Commons, the elected lower house. The speaker is a Member of Parliament and is elected at the beginning of new parliament by fellow MPs. The Speakers role in presiding over Canadas House of Commons is similar to that of speakers elsewhere in countries that use the Westminster system. The Speaker does not vote except in the case of a tie, by convention, if required to vote, the Speaker will vote in favour of continuing debate on a matter, but will not ultimately vote for a measure to be approved. The Speaker of the Senate of Canada is the officer of the Senate of Canada. The Speaker represents the Senate at official functions, rules on questions of procedure and parliamentary privilege. The Speaker of the Senate is appointed by the Governor General of Canada from amongst sitting senators upon the advice of the Prime Minister, the Speaker has a vote on all matters. In the event of a tie, the matter fails, at the provincial level, the presiding officer of the provincial legislatures is called the Speaker in all provinces except Quebec, where the term President is used. The presiding officer fulfills the role as the Speaker of the House of Commons. In the United Kingdom, the Speaker of the House of Commons is the elected to preside over the elected House of Commons
27.
Jacques-Louis David
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Jacques-Louis David was a French painter in the Neoclassical style, considered to be the preeminent painter of the era. David later became a supporter of the French Revolution and friend of Maximilien Robespierre. Imprisoned after Robespierres fall from power, he aligned himself with yet another political regime upon his release, at this time he developed his Empire style, notable for its use of warm Venetian colours. After Napoleons fall from Imperial power and the Bourbon revival, David exiled himself to Brussels, then in the United Kingdom of the Netherlands, where he remained until his death. David had a number of pupils, making him the strongest influence in French art of the early 19th century. Jacques-Louis David was born into a family in Paris on 30 August 1748. When he was nine his father was killed in a duel. He covered his notebooks with drawings, and he said, I was always hiding behind the instructors chair. Soon, he desired to be a painter, but his uncles and he overcame the opposition, and went to learn from François Boucher, the leading painter of the time, who was also a distant relative. Boucher was a Rococo painter, but tastes were changing, Boucher decided that instead of taking over Davids tutelage, he would send David to his friend, Joseph-Marie Vien, a painter who embraced the classical reaction to Rococo. There David attended the Royal Academy, based in what is now the Louvre, each year the Academy awarded an outstanding student the prestigious Prix de Rome, which funded a three- to five-year stay in the Eternal City. Each pensionnaire was lodged in the French Academys Roman outpost, which from the years 1737 to 1793 was the Palazzo Mancini in the Via del Corso. David competed for, and failed to win, the prize for three years, each failure contributing to his lifelong grudge against the institution. After his second loss in 1772, David went on a hunger strike, confident he now had the support and backing needed to win the prize, he resumed his studies with great zeal—only to fail to win the Prix de Rome again the following year. Finally, in 1774, David was awarded the Prix de Rome on the strength of his painting of Erasistratus Discovering the Cause of Antiochus Disease, a subject set by the judges. In October 1775 he made the journey to Italy with his mentor, Joseph-Marie Vien, while in Italy, David especially studied the works of 17th-century masters such as Poussin, Caravaggio, and the Carracci. Mengs principled, historicizing approach to the representation of classical subjects profoundly influenced Davids pre-revolutionary painting, such as The Vestal Virgin, mengs also introduced David to the theoretical writings on ancient sculpture by Johann Joachim Winckelmann, the German scholar held to be the founder of modern art history. In 1779, David toured the newly excavated ruins of Pompeii, while in Rome, David also assiduously studied the High Renaissance painters, Raphael making a profound and lasting impression on the young French artist
28.
Raphael
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Raffaello Sanzio da Urbino, known as Raphael, was an Italian painter and architect of the High Renaissance. His work is admired for its clarity of form, ease of composition, together with Michelangelo and Leonardo da Vinci, he forms the traditional trinity of great masters of that period. Raphael was enormously productive, running a large workshop and, despite his death at 37. Many of his works are found in the Vatican Palace, where the frescoed Raphael Rooms were the central, the best known work is The School of Athens in the Vatican Stanza della Segnatura. After his early years in Rome much of his work was executed by his workshop from his drawings and he was extremely influential in his lifetime, though outside Rome his work was mostly known from his collaborative printmaking. Raphael was born in the small but artistically significant central Italian city of Urbino in the Marche region and his poem to Federico shows him as keen to show awareness of the most advanced North Italian painters, and Early Netherlandish artists as well. In the very court of Urbino he was probably more integrated into the central circle of the ruling family than most court painters. Under them, the court continued as a centre for literary culture, growing up in the circle of this small court gave Raphael the excellent manners and social skills stressed by Vasari. Castiglione moved to Urbino in 1504, when Raphael was no longer based there but frequently visited, Raphael mixed easily in the highest circles throughout his life, one of the factors that tended to give a misleading impression of effortlessness to his career. He did not receive a humanistic education however, it is unclear how easily he read Latin. His mother Màgia died in 1491 when Raphael was eight, followed on August 1,1494 by his father, Raphael was thus orphaned at eleven, his formal guardian became his only paternal uncle Bartolomeo, a priest, who subsequently engaged in litigation with his stepmother. He probably continued to live with his stepmother when not staying as an apprentice with a master and he had already shown talent, according to Vasari, who says that Raphael had been a great help to his father. A self-portrait drawing from his teenage years shows his precocity and his fathers workshop continued and, probably together with his stepmother, Raphael evidently played a part in managing it from a very early age. In Urbino, he came into contact with the works of Paolo Uccello, previously the court painter, and Luca Signorelli, according to Vasari, his father placed him in the workshop of the Umbrian master Pietro Perugino as an apprentice despite the tears of his mother. The evidence of an apprenticeship comes only from Vasari and another source, an alternative theory is that he received at least some training from Timoteo Viti, who acted as court painter in Urbino from 1495. An excess of resin in the varnish often causes cracking of areas of paint in the works of both masters, the Perugino workshop was active in both Perugia and Florence, perhaps maintaining two permanent branches. Raphael is described as a master, that is to say fully trained and his first documented work was the Baronci altarpiece for the church of Saint Nicholas of Tolentino in Città di Castello, a town halfway between Perugia and Urbino. Evangelista da Pian di Meleto, who had worked for his father, was named in the commission
29.
The Raft of the Medusa
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The Raft of the Medusa is an oil painting of 1818–1819 by the French Romantic painter and lithographer Théodore Géricault. Completed when the artist was 27, the work has become an icon of French Romanticism, the event became an international scandal, in part because its cause was widely attributed to the incompetence of the French captain. Géricault chose to depict this event in order to launch his career with a large-scale uncommissioned work on a subject that had already generated great public interest. The event fascinated him, and before he began work on the painting, he undertook extensive research. He interviewed two of the survivors and constructed a scale model of the raft. He visited hospitals and morgues where he could view, first-hand, as he had anticipated, the painting proved highly controversial at its first appearance in the 1819 Paris Salon, attracting passionate praise and condemnation in equal measure. However, it established his reputation, and today is widely seen as seminal in the early history of the Romantic movement in French painting. Géricaults work attracted attention from its first showing and was then exhibited in London. The Louvre acquired it soon after the death at the age of 32. The paintings influence can be seen in the works of Eugène Delacroix, J. M. W. Turner, Gustave Courbet, in June 1816, the French frigate Méduse departed from Rochefort, bound for the Senegalese port of Saint-Louis. She headed a convoy of three ships, the storeship Loire, the brig Argus and the corvette Écho. Viscount Hugues Duroy de Chaumereys had been appointed captain of the frigate despite having scarcely sailed in 20 years, the frigates mission was to accept the British return of Senegal under the terms of Frances acceptance of the Peace of Paris. The appointed French governor of Senegal, Colonel Julien-Désiré Schmaltz, and his wife, in an effort to make good time, the Méduse overtook the other ships, but due to poor navigation it drifted 100 miles off course. On 2 July, it ran aground on a sandbank off the West African coast, efforts to free the ship failed, so, on 5 July, the frightened passengers and crew started an attempt to travel the 60 miles to the African coast in the frigates six boats. Although the Méduse was carrying 400 people, including 160 crew, the remainder of the ships complement—at least 146 men and one woman—were piled onto a hastily built raft, that partially submerged once it was loaded. Seventeen crew members opted to stay aboard the grounded Méduse, the captain and crew aboard the other boats intended to tow the raft, but after only a few miles the raft was turned loose. For sustenance the crew of the raft had only a bag of ships biscuit, according to critic Jonathan Miles, the raft carried the survivors to the frontiers of human experience. Crazed, parched and starved, they slaughtered mutineers, ate their dead companions, after 13 days, on 17 July 1816, the raft was rescued by the Argus by chance—no particular search effort was made by the French for the raft
30.
The Barque of Dante
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It was completed for the opening of the Salon of 1822 and currently hangs in the Musée du Louvre, Paris. The painting is based on fictional events taken from canto eight of Dante’s Inferno. A leaden, smoky mist and the blazing City of the Dead form the backdrop against which the poet Dante endures a fearful crossing of the River Styx and he is steadied by the learned poet of antiquity Virgil as they plough through waters heaving with tormented souls. The arrangement of figures is for the most part compliant with the tenets of the cool, there is a group of central upright figures, and a rational arrangement of subsidiary figures, all in horizontal planes, and observing studied poses. The smoke to the rear and the movement of the garment in which the oarsman Phlegyas is wrapped indicate a strong wind. The river is choppy and the boat is lifted to the right, the party is driven to a destination known to be yet more inhospitable, by an oarsman whose sure-footed poise in the storm suggests his familiarity with these wild conditions. The city behind is a gigantic furnace, there is neither comfort nor a place of refuge in the painting’s world of rage, insanity and despair. The painting explores the psychological states of the individuals it depicts, Virgil’s detachment from the tumult surrounding him, and his concern for Dante’s well-being, is an obvious counterpoint to the latter’s fear, anxiety, and physical state of imbalance. The damned are either rapt in a piercing concentration upon some mad and gainless task and their lining of the boat takes an up-and-down wave-like form, echoing the choppy water and making the foot of the painting a region of perilous instability. The souls to the far left and right are like grotesque bookends, enclosing the action, Delacroix wrote that his best painting of a head in this picture is that of the soul reaching with his forearm from the far side into the boat. Both Charles Le Brun’s, La Colère of 1668, and John Flaxman’s line engraving The Fiery Sepulchres, the theatrical display of bold colours in the figures at the centre of the composition is striking. The red of Dante’s cowl resonates alarmingly with the mass behind him. The author Charles Blanc noted the white linen on Virgil’s mantle, describing it as a wake up in the middle of the dark. The drops of water running down the bodies of the damned are painted in a manner seldom seen up to, four different, unmixed pigments, in discretely applied quantities comprise the image of one drop and its shadow. White is used for highlighting, strokes of yellow and green respectively denote the length of the drop, and the shadow is red. ”In a letter to his sister, Madame Henriette de Verninac, written in 1821, Delacroix speaks of his desire to paint for the Salon the following year, and to ‘gain a little recognition’. In April 1822 he wrote to his friend Charles Soulier that he had been working hard, the intense labour that was required to complete this painting in time left Delacroix weak and in need of recuperation. Critics expressed a range of opinions about The Barque of Dante, one of the judges at the Salon, Étienne-Jean Delécluze, was uncomplimentary, calling the work ‘a real daub’. Another judge, Antoine-Jean Gros, thought highly of it, describing it a ‘chastened Rubens’, an anonymous reviewer in Le Miroir expected Delacroix to become a ‘distinguished colourist’
31.
Salon (Paris)
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The Salon, or rarely Paris Salon, beginning in 1667 was the official art exhibition of the Académie des Beaux-Arts in Paris. Between 1748 and 1890 it was arguably the greatest annual or biennial art event in the Western world, at the 1761 Salon, thirty-three painters, nine sculptors, and eleven engravers contributed. From 1881 onward, it has been managed by the Société des Artistes Français, in 1667, the royally sanctioned French institution of art patronage, the Académie royale de peinture et de sculpture, held its first semi-public art exhibit at the Salon Carré. The Salons original focus was the display of the work of recent graduates of the École des Beaux-Arts, exhibition at the Salon de Paris was essential for any artist to achieve success in France for at least the next 200 years. Exhibition in the Salon marked a sign of royal favor, in 1725, the Salon was held in the Palace of the Louvre, when it became known as Salon or Salon de Paris. In 1737, the exhibitions, held from 18 August 1737 to 5 September 1737 at the Grand Salon of the Louvre and they were held, at first, annually, and then biennially, in odd-numbered years. They would start on the feast day of St. Louis, once made regular and public, the Salons status was never seriously in doubt. In 1748 a jury of awarded artists was introduced, from this time forward, the influence of the Salon was undisputed. The Salon exhibited paintings floor-to-ceiling and on every inch of space. The jostling of artwork became the subject of other paintings. Printed catalogues of the Salons are primary documents for art historians, critical descriptions of the exhibitions published in the gazettes mark the beginning of the modern occupation of art critic. The French revolution opened the exhibition to foreign artists, the vernissage of opening night was a grand social occasion, and a crush that gave subject matter to newspaper caricaturists like Honoré Daumier. Charles Baudelaire, Denis Diderot and others wrote reviews of the Salons, the 1848 revolution liberalized the Salon. The amount of refused works was greatly reduced, the increasingly conservative and academic juries were not receptive to the Impressionist painters, whose works were usually rejected, or poorly placed if accepted. The Salon opposed the Impressionists shift away from traditional painting styles, in 1863 the Salon jury turned away an unusually high number of the submitted paintings. An uproar resulted, particularly from regular exhibitors who had been rejected, in order to prove that the Salons were democratic, Napoleon III instituted the Salon des Refusés, containing a selection of the works that the Salon had rejected that year. It opened on 17 May 1863, marking the birth of the avant-garde, the Impressionists held their own independent exhibitions in 1874,1876,1877,1879,1880,1881,1882 and 1886. In 1881, the government withdrew official sponsorship from the annual Salon, in December 1890, the leader of the Société des Artistes Français, William-Adolphe Bouguereau, propagated the idea that Salon should be an exhibition of young, not-yet awarded, artists
32.
The Massacre at Chios
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The Massacre at Chios is the second major oil painting by the French artist Eugène Delacroix. The work is more than four meters tall, and shows some of the horror of the destruction visited on the Island of Chios in the Chios massacre. A frieze-like display of suffering characters, military might, ornate and colourful costumes, terror, disease, the painting was completed and displayed at the Salon of 1824 and presently hangs at the Musée du Louvre in Paris. A military attack on the inhabitants of Chios by Ottoman forces commenced on 11 April 1822 and was prosecuted for several months into the summer of the same year. The campaign resulted in the deaths of twenty thousand citizens, the pyramidal arrangement that governs Géricaults painting is similarly seen with the figures in the foreground of The Massacre at Chios. On this unlikely layout of characters, Delacroix commented, One must fill up, if it is natural, it will be more beautiful. Would that everything should hold together, the dense assembly of characters at the front is in marked contrast to the open and dispersed spaces behind them. The complete effect of background is to suggest a constant opening out, dissolution. Aesthetician Heinrich Wölfflin identified this technique, and classified it a tectonic form, the thirteen civilians—men, women and children–have been rounded up for slaughter or enslavement. They are harshly presented to the viewer in an almost flat plane, slumped, disordered, the area between the two pyramids contains two soldiers in shadow, and two more Greek victims–a young man embraced by a young woman. The two men in the pyramid to the left are injured, the man at the front is on or near to the point of death, and the man poised at the top of the group appears unable to prepare a defence for himself. His gaze is in the direction of the children in front of him. This seeming detachment, coupled with the vacant stare of the dying man lend to group an air of despondent resignation. In contrast, the pyramid to the right has a vigorous vertical thrust. But at the foot of the pyramid, an old woman raises her head to gaze into the sky, body parts including a hand and forearm, and an indistinct, congealed bloody mass hover grimly above the infant. Fraser notes that he cuts through the centre of the composition and drops inexplicably out. This dramatic arrangement breaks the picture apart into fragments, with clumps of tangled bodies, scattered glances, in the middle distance, another mêlée of humanitarian disaster unfolds, and the background is an uneven display of sacked, burning settlements and scorched earth. Most of the Mediterranean horizon is painted with bleak earth colours, and it is punctuated only by smoke, the mane of the rearing horse and the head of the soldier
33.
Louvre
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The Louvre or the Louvre Museum is the worlds largest museum and a historic monument in Paris, France. A central landmark of the city, it is located on the Right Bank of the Seine in the citys 1st arrondissement, approximately 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square metres. The Louvre is the second most visited museum after the Palace Museum in China. The museum is housed in the Louvre Palace, originally built as a fortress in the late 12th century under Philip II, remnants of the fortress are visible in the basement of the museum. Due to the expansion of the city, the fortress eventually lost its defensive function and. The building was extended many times to form the present Louvre Palace, in 1692, the building was occupied by the Académie des Inscriptions et Belles Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years, during the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nations masterpieces. The museum opened on 10 August 1793 with an exhibition of 537 paintings, because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under Napoleon and the museum renamed Musée Napoléon, the collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic, whether this was the first building on that spot is not known, it is possible that Philip modified an existing tower. According to the authoritative Grand Larousse encyclopédique, the name derives from an association with wolf hunting den, in the 7th century, St. Fare, an abbess in Meaux, left part of her Villa called Luvra situated in the region of Paris to a monastery. This territory probably did not correspond exactly to the modern site, the Louvre Palace was altered frequently throughout the Middle Ages. In the 14th century, Charles V converted the building into a residence and in 1546, Francis acquired what would become the nucleus of the Louvres holdings, his acquisitions including Leonardo da Vincis Mona Lisa. After Louis XIV chose Versailles as his residence in 1682, constructions slowed, however, on 14 October 1750, Louis XV agreed and sanctioned a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. Under Louis XVI, the museum idea became policy. The comte dAngiviller broadened the collection and in 1776 proposed conversion of the Grande Galerie of the Louvre – which contained maps – into the French Museum, many proposals were offered for the Louvres renovation into a museum, however, none was agreed on. Hence the museum remained incomplete until the French Revolution, during the French Revolution the Louvre was transformed into a public museum. In May 1791, the Assembly declared that the Louvre would be a place for bringing together monuments of all the sciences, on 10 August 1792, Louis XVI was imprisoned and the royal collection in the Louvre became national property
34.
Chios massacre
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The Chios massacre was the killing of tens of thousands of Greeks on the island of Chios by Ottoman troops during the Greek War of Independence in 1822. Greeks from neighbouring islands had arrived on Chios and encouraged the Chians to join their revolt, in response, Ottoman troops landed on the island and killed thousands. The massacre provoked outrage, and led to increasing support for the Greek cause worldwide. For over 2,000 years, Chios merchants and shipowners had been prominent in trade and diplomacy throughout the Black Sea, the Aegean, and the Mediterranean. The Ottoman Empire allowed Chios almost complete control over its own affairs as Chian trade, the cosmopolitan Chians were also very prominent in Constantinople. Following the massacre, however, the island never regained its commercial prominence, the islands ruling classes were reluctant to join the Greek revolt, fearing the loss of their security and prosperity. Furthermore, they were aware that they were situated far too close to the Turkish heartland in Anatolia to be safe, at some points, Chios is only 6.7 kilometres from the Anatolian mainland. In March 1822, as the Greek revolt gathered strength on the mainland and they attacked the Turks, who retreated to the citadel. Many islanders also decided to join the revolution, however, the vast majority of the population had by all accounts done nothing to provoke the reprisals, and had not joined other Greeks in their revolt against the Ottoman Empire. Reinforcements in the form of a Turkish fleet under the Kapudan Pasha Nasuhzade Ali Pasha arrived on the island on 22 March and they quickly pillaged and looted the town. On 31 March, orders were given to burn down the town, and over the four months. In addition to setting fires, the troops were ordered to kill all infants under three years old, all males 12 years and older, and all females 40 and older, approximately three-quarters of the population of 120,000 were killed, enslaved or died of disease. It is estimated that 2,000 people remained on the island after 21,000 managed to flee,52,000 were enslaved and 52,000 massacred, tens of thousands of survivors dispersed throughout Europe and became part of the Chian Diaspora. Another source says that approximately 20,000 Chians were killed or starved to death, some young Greeks enslaved during the massacre were adopted by wealthy Ottomans and converted to Islam. Some rose to levels of prominence in the Ottoman Empire, such as Georgios Stravelakis, there was outrage when the events were reported in Europe. French painter Eugène Delacroix created a painting depicting the events that occurred, in 2009, a copy of the painting was displayed in the local Byzantine museum on Chios. It was withdrawn from the museum on November 2009 in a good faith initiative for the improvement of Greek-Turkish relations, however, the Greek press protested its removal. The copy is now back on display in the museum, Chios expedition Navarino massacre Tripolitsa massacre Massacres during the Greek Revolution Ottoman wars in Europe List of massacres in Greece Christopher A
35.
Chios
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Chios is the fifth largest of the Greek islands, situated in the Aegean Sea,7 kilometres off the Anatolian coast. The island is separated from Turkey by the Çeşme Strait, Chios is notable for its exports of mastic gum and its nickname is the Mastic Island. Tourist attractions include its medieval villages and the 11th-century monastery of Nea Moni, administratively, the island forms a separate municipality within the Chios regional unit, which is part of the North Aegean region. The principal town of the island and seat of the municipality is Chios town, locals refer to Chios town as Chora. Chios island is crescent or kidney shaped,50 kilometres long north to south,29 kilometres at its widest. The terrain is mountainous and arid, with a ridge of mountains running the length of the island, the two largest of these mountains, Pelineon and Epos, are situated in the north of the island. The center of the island is divided between east and west by a range of peaks, known as Provatas. Chios can be divided into five regions, Midway up the east coast lie the main centers, the main town of Chios. Chios Town, with a population of 32,400, is built around the main harbour. The town was damaged by an earthquake in 1881. North of Chios Town lies the suburb of Vrontados, which claims to be the birthplace of Homer. The suburb lies in the Omiroupoli municipality, and its connection to the poet is supported by a site known traditionally as Teachers Rock. The villages, built between the 14th and 16th centuries, have a carefully designed layout with fortified gates and narrow streets to protect against the frequent raids by marauding pirates. Between Chios Town and the Mastichochoria lie a number of historic villages including Armolia, Myrmighi. Along the east coast are the villages of Kataraktis and to the south Nenita. Directly in the centre of the island, between the villages of Avgonyma to the west and Karyes to the east, is the 11th century monastery of Nea Moni, a UNESCO World Heritage Site. The monastery was built with funds given by the Byzantine Emperor Constantine IX, the monastery had substantial estates attached, with a thriving community until the massacre of 1822. It was further damaged during the 1881 earthquake, in 1952, due to the shortage of monks, Nea Moni was converted to a convent
36.
Ottoman Empire
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After 1354, the Ottomans crossed into Europe, and with the conquest of the Balkans the Ottoman Beylik was transformed into a transcontinental empire. The Ottomans ended the Byzantine Empire with the 1453 conquest of Constantinople by Mehmed the Conqueror, at the beginning of the 17th century the empire contained 32 provinces and numerous vassal states. Some of these were later absorbed into the Ottoman Empire, while others were granted various types of autonomy during the course of centuries. With Constantinople as its capital and control of lands around the Mediterranean basin, while the empire was once thought to have entered a period of decline following the death of Suleiman the Magnificent, this view is no longer supported by the majority of academic historians. The empire continued to maintain a flexible and strong economy, society, however, during a long period of peace from 1740 to 1768, the Ottoman military system fell behind that of their European rivals, the Habsburg and Russian Empires. While the Empire was able to hold its own during the conflict, it was struggling with internal dissent. Starting before World War I, but growing increasingly common and violent during it, major atrocities were committed by the Ottoman government against the Armenians, Assyrians and Pontic Greeks. The word Ottoman is an anglicisation of the name of Osman I. Osmans name in turn was the Turkish form of the Arabic name ʿUthmān, in Ottoman Turkish, the empire was referred to as Devlet-i ʿAlīye-yi ʿOsmānīye, or alternatively ʿOsmānlı Devleti. In Modern Turkish, it is known as Osmanlı İmparatorluğu or Osmanlı Devleti, the Turkish word for Ottoman originally referred to the tribal followers of Osman in the fourteenth century, and subsequently came to be used to refer to the empires military-administrative elite. In contrast, the term Turk was used to refer to the Anatolian peasant and tribal population, the term Rūmī was also used to refer to Turkish-speakers by the other Muslim peoples of the empire and beyond. In Western Europe, the two names Ottoman Empire and Turkey were often used interchangeably, with Turkey being increasingly favored both in formal and informal situations and this dichotomy was officially ended in 1920–23, when the newly established Ankara-based Turkish government chose Turkey as the sole official name. Most scholarly historians avoid the terms Turkey, Turks, and Turkish when referring to the Ottomans, as the power of the Seljuk Sultanate of Rum declined in the 13th century, Anatolia was divided into a patchwork of independent Turkish principalities known as the Anatolian Beyliks. One of these beyliks, in the region of Bithynia on the frontier of the Byzantine Empire, was led by the Turkish tribal leader Osman, osmans early followers consisted both of Turkish tribal groups and Byzantine renegades, many but not all converts to Islam. Osman extended the control of his principality by conquering Byzantine towns along the Sakarya River and it is not well understood how the early Ottomans came to dominate their neighbours, due to the scarcity of the sources which survive from this period. One school of thought which was popular during the twentieth century argued that the Ottomans achieved success by rallying religious warriors to fight for them in the name of Islam, in the century after the death of Osman I, Ottoman rule began to extend over Anatolia and the Balkans. Osmans son, Orhan, captured the northwestern Anatolian city of Bursa in 1326 and this conquest meant the loss of Byzantine control over northwestern Anatolia. The important city of Thessaloniki was captured from the Venetians in 1387, the Ottoman victory at Kosovo in 1389 effectively marked the end of Serbian power in the region, paving the way for Ottoman expansion into Europe
37.
Greek War of Independence
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The Greek War of Independence, also known as the Greek Revolution, was a successful war of independence waged by the Greek revolutionaries between 1821 and 1832 against the Ottoman Empire. Even several decades before the fall of Constantinople to the Ottoman Empire in 1453, during this time, there were several revolt attempts by Greeks to gain independence from Ottoman control. In 1814, an organization called the Filiki Eteria was founded with the aim of liberating Greece. The Filiki Eteria planned to launch revolts in the Peloponnese, the Danubian Principalities, the first of these revolts began on 6 March 1821 in the Danubian Principalities, but it was soon put down by the Ottomans. The events in the north urged the Greeks in the Peloponnese into action and on 17 March 1821 and this declaration was the start of a spring of revolutionary actions from other controlled states against the Ottoman Empire. By the end of the month, the Peloponnese was in revolt against the Turks and by October 1821. The Peloponnesian revolt was followed by revolts in Crete, Macedonia, and Central Greece. Meanwhile, the makeshift Greek navy was achieving success against the Ottoman navy in the Aegean Sea, tensions soon developed among different Greek factions, leading to two consecutive civil wars. In the meantime, the Ottoman Sultan negotiated with Mehmet Ali of Egypt, although Ibrahim was defeated in Mani, he had succeeded in suppressing most of the revolt in the Peloponnese, and Athens had been retaken. Following years of negotiation, three Great Powers—Russia, Britain and France—decided to intervene in the conflict and each sent a navy to Greece. Following news that combined Ottoman–Egyptian fleets were going to attack the Greek island of Hydra, the battle began after a tense week-long standoff, ending in the destruction of the Ottoman–Egyptian fleet. As a result of years of negotiation, Greece was finally recognized as an independent nation in the Treaty of Constantinople of May 1832, the Revolution is celebrated by the modern Greek state as a national day on 25 March. The Fall of Constantinople on 29 May 1453 and the subsequent fall of the states of the Byzantine Empire marked the end of Byzantine sovereignty. After that, the Ottoman Empire ruled the Balkans and Anatolia, Orthodox Christians were granted some political rights under Ottoman rule, but they were considered inferior subjects. The majority of Greeks were called Rayah by the Turks, a name referred to the large mass of non-Muslim subjects under the Ottoman ruling class. Demetrius Chalcondyles called on Venice and all of the Latins to aid the Greeks against the abominable, monstrous, however, Greece was to remain under Ottoman rule for several more centuries. The Greek Revolution was not an event, numerous failed attempts at regaining independence took place throughout the history of the Ottoman era. Throughout the 17th century there was resistance to the Ottomans in the Morea and elsewhere
38.
Oath of the Horatii
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Oath of the Horatii, is a large painting by the French artist Jacques-Louis David painted in 1784 and now on display in the Louvre in Paris. The painting immediately became a success with critics and the public. It depicts a scene from a Roman legend about a dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for ones country. Instead of the two cities sending their armies to war, they agree to choose three men from each city, the victor in that fight will be the victorious city. From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, are shown saluting their father who holds their swords out for them, of the three Horatii brothers, only one shall survive the confrontation. Aside from the three brothers depicted, David also represents, in the right corner, a woman crying whilst sitting down. She is Camilla, a sister of the Horatii brothers, who is betrothed to one of the Curiatii fighters. The principal sources for the story behind Davids Oath are the first book of Livy which was elaborated by Dionysius in book 3 of his Roman Antiquities, however, the moment depicted in Davids painting is his own invention. It grew to be considered a paragon of neoclassical art, the painting increased Davids fame, allowing him to take on his own students. In 1774, David won the Prix de Rome with his work Érasistrate découvrant la cause de la maladie d’Antiochius and this allowed him to stay five years in Rome as a student from the French government. There he met Pecoul, contractor for the buildings, and Pecouls daughter. The kings assistant, Charles-Claude Flahaut de la Billaderie, commissioned Oath of the Horatii with the intention that it be an allegory about loyalty to the state, nevertheless, David departed from the agreed-upon scene, painting this scene instead. The painting was not completed in Paris, but rather in Rome, ultimately, Davids picture manifests a progressive outlook, deeply influenced by Enlightenment ideas, that eventually contributed to the overthrow of the monarchy. As the French Revolution approached, paintings increasingly referred to the loyalty to the rather than the family or the church. Painted five years before the Revolution, the Oath of the Horatii reflects the tensions of the period. In 1789, David painted The Lictors Bring to Brutus the Bodies of His Sons, as revolution in France loomed, paintings urging loyalty to the state rather than to clan or clergy abounded. Although it was painted nearly four years before the revolution in France, in the painting, the three brothers express their loyalty and solidarity with Rome before battle, wholly supported by their father
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Antoine-Jean Gros
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Antoine-Jean Gros, also known as Baron Gros, was both a French history and neoclassical painter. Born in Paris, Gros began to learn to draw at the age of six from his father, Jean-Antoine Gros, who was a miniature painter, and showed himself as a gifted artist. The death of his father, whose circumstances had been embarrassed by the French Revolution, threw Gros, in 1791 and he now devoted himself wholly to his profession, and competed in 1792 for the grand prix. He supported himself at Genoa by the means, producing a great quantity of miniatures and fixes. He visited Florence, but returned to Genoa where he made the acquaintance of Joséphine de Beauharnais and he followed her to Milan, where he was well received by her husband, Napoleon Bonaparte. On 15 November 1796, Gros was present with the army near Arcola when Bonaparte planted the French tricolor on the bridge, Gros seized on this incident, and showed by his treatment of it that he had found his vocation. In 1799, having escaped from the city of Genoa, Gros made his way to Paris. Les Pestiférés de Jaffa was followed by The Battle of Aboukir,1806, at the Salon of 1804, Gros debuted his painting Bonaparte Visiting the Plague Victims of Jaffa. The painting launched his career as a successful painter and it depicts Bonaparte in Jaffa visiting soldiers infected with the bubonic plague. He is portrayed reaching out to one of the sick, unfazed by the illness, while Bonaparte did actually visit the pesthouse, later, as his army prepared to withdraw from Syria, he ordered the poisoning of about fifty of his plague-infected men. The painting was commissioned as damage control when word spread of his actions, the painting is in the Neo-Classical style, though it shows elements such as the lighting and a taste for the exotic that are precursors to the upcoming Romantic ideals. In 1810, his Madrid and Napoleon at the Pyramids show that his star had deserted him, again citing Britannica, Exasperated by criticism and the consciousness of failure, Gros sought refuge in the gros pleasures of life. On 25 June 1835, he was drowned on the shores of the Seine at Meudon. From a paper which he had placed in his hat, it known that tired of life. Gros was decorated and named Baron of the Empire by Napoleon, after the Salon of 1808, the number of Gross pupils was very great, and was considerably augmented when, in 1815, David quit Paris and gave over his own classes to him. He became a member of the Institute, professor at the École des Beaux Arts, Gros had also been an inspiration to Eugene Delacroix, especially with his work in lithography. The two both worked in the time period, and both did portraits of Napoleon. Though at one point, Gros had referred to Delacroixs Chios, G. Dargenty produced a book titled Les Artistes Celebres Le Baron Gros GILBERT WOOD & Co
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John Constable
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John Constable, RA was an English Romantic painter. Born in Suffolk, he is principally for his landscape paintings of Dedham Vale. I should paint my own places best, he wrote to his friend John Fisher in 1821, painting is and his most famous paintings include Wivenhoe Park of 1816, Dedham Vale of 1802 and The Hay Wain of 1821. Although his paintings are now among the most popular and valuable in British art and he did not become a member of the establishment until he was elected to the Royal Academy at the age of 52. His work was embraced in France, where he sold more works than in his native England, John Constable was born in East Bergholt, a village on the River Stour in Suffolk, to Golding and Ann Constable. His father was a corn merchant, owner of Flatford Mill in East Bergholt and, later. Golding Constable owned a ship, The Telegraph, which he moored at Mistley on the Stour estuary. He was a cousin of the London tea merchant, Abram Newman, although Constable was his parents second son, his older brother was intellectually disabled and John was expected to succeed his father in the business. After a brief period at a school in Lavenham, he was enrolled in a day school in Dedham. Constable worked in the business after leaving school, but his younger brother Abram eventually took over the running of the mills. In his youth, Constable embarked on amateur sketching trips in the surrounding Suffolk and Essex countryside, which was to become the subject of a large proportion of his art. These scenes, in his own words, made me a painter, and I am grateful, the sound of water escaping from mill dams etc. willows, old planks, slimy posts. He was introduced to George Beaumont, a collector, who showed him his prized Hagar and the Angel by Claude Lorrain, in 1799, Constable persuaded his father to let him pursue a career in art, and Golding granted him a small allowance. Entering the Royal Academy Schools as a probationer, he attended classes and anatomical dissections. Among works that inspired him during this period were paintings by Thomas Gainsborough, Claude Lorrain, Peter Paul Rubens, Annibale Carracci. He also read widely among poetry and sermons, and later proved a notably articulate artist, by 1803, he was exhibiting paintings at the Royal Academy. In 1802 he refused the position of drawing master at Great Marlow Military College, Constables usual subjects, scenes of ordinary daily life, were unfashionable in an age that looked for more romantic visions of wild landscapes and ruins. He made occasional trips further afield, in 1803 he spent almost a month aboard the East Indiaman ship Coutts as it visited south-east ports, and in 1806 he undertook a two-month tour of the Lake District
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