1.
Antwerp
–
Antwerp is a city in Belgium, the capital of Antwerp province in the region of Flanders. With a population of 510,610, it is the most populous city proper in Belgium and its metropolitan area houses around 1,200,000 people, which is second behind Brussels. Antwerp is on the River Scheldt, linked to the North Sea by the Westerschelde estuary, the Port of Antwerp is one of the biggest in the world, ranking second in Europe and within the top 20 globally. Antwerp has long been an important city in the Low Countries, the inhabitants of Antwerp are nicknamed Sinjoren, after the Spanish honorific señor or French seigneur, lord, referring to the Spanish noblemen who ruled the city in the 17th century. The city hosted the 1920 Summer Olympics, according to folklore, notably celebrated by a statue in front of the town hall, the city got its name from a legend about a giant called Antigoon who lived near the Scheldt river. He exacted a toll from passing boatmen, and for those who refused, he severed one of their hands, eventually the giant was killed by a young hero named Silvius Brabo, who cut off the giants own hand and flung it into the river. Hence the name Antwerpen, from Dutch hand werpen, akin to Old English hand and wearpan, a longstanding theory is that the name originated in the Gallo-Roman period and comes from the Latin antverpia. Antverpia would come from Ante Verpia, indicating land that forms by deposition in the curve of a river. Note that the river Scheldt, before a period between 600 and 750, followed a different track. This must have coincided roughly with the current ringway south of the city, however, many historians think it unlikely that there was a large settlement which would be named Antverpia, but more something like an outpost with a river crossing. However, John Lothrop Motley argues, and so do a lot of Dutch etymologists and historians, aan t werp is also possible. This warp is a hill or a river deposit, high enough to remain dry at high tide. Another word for werp is pol hence polders, historical Antwerp allegedly had its origins in a Gallo-Roman vicus. Excavations carried out in the oldest section near the Scheldt, 1952–1961, produced pottery shards, the earliest mention of Antwerp dates from the 4th century. In the 4th century, Antwerp was first named, having been settled by the Germanic Franks, the name was reputed to have been derived from anda and werpum. The Merovingian Antwerp was evangelized by Saint Amand in the 7th century, at the end of the 10th century, the Scheldt became the boundary of the Holy Roman Empire. Antwerp became a margraviate in 980, by the German emperor Otto I, in the 11th century Godfrey of Bouillon was for some years known as the marquis of Antwerp. In the 12th century, Norbert of Xanten established a community of his Premonstratensian canons at St. Michaels Abbey at Caloes
Antwerp
–
Antwerp Antwerpen
Antwerp
–
Coat of arms
Antwerp
–
The
Onze-Lieve-Vrouwekathedraal (Cathedral of our Lady) and the
Scheldt river.
Antwerp
–
Grote Markt
2.
Belgian
–
Belgium, officially the Kingdom of Belgium, is a sovereign state in Western Europe bordered by France, the Netherlands, Germany, Luxembourg, and the North Sea. It is a small, densely populated country which covers an area of 30,528 square kilometres and has a population of about 11 million people. Additionally, there is a group of German-speakers who live in the East Cantons located around the High Fens area. Historically, Belgium, the Netherlands and Luxembourg were known as the Low Countries, the region was called Belgica in Latin, after the Roman province of Gallia Belgica. From the end of the Middle Ages until the 17th century, today, Belgium is a federal constitutional monarchy with a parliamentary system of governance. It is divided into three regions and three communities, that exist next to each other and its two largest regions are the Dutch-speaking region of Flanders in the north and the French-speaking southern region of Wallonia. The Brussels-Capital Region is a bilingual enclave within the Flemish Region. A German-speaking Community exists in eastern Wallonia, Belgiums linguistic diversity and related political conflicts are reflected in its political history and complex system of governance, made up of six different governments. Upon its independence, declared in 1830, Belgium participated in the Industrial Revolution and, during the course of the 20th century, possessed a number of colonies in Africa. This continuing antagonism has led to several far-reaching reforms, resulting in a transition from a unitary to a federal arrangement during the period from 1970 to 1993. Belgium is also a member of the Eurozone, NATO, OECD and WTO. Its capital, Brussels, hosts several of the EUs official seats as well as the headquarters of major international organizations such as NATO. Belgium is also a part of the Schengen Area, Belgium is a developed country, with an advanced high-income economy and is categorized as very high in the Human Development Index. A gradual immigration by Germanic Frankish tribes during the 5th century brought the area under the rule of the Merovingian kings, a gradual shift of power during the 8th century led the kingdom of the Franks to evolve into the Carolingian Empire. Many of these fiefdoms were united in the Burgundian Netherlands of the 14th and 15th centuries, the Eighty Years War divided the Low Countries into the northern United Provinces and the Southern Netherlands. The latter were ruled successively by the Spanish and the Austrian Habsburgs and this was the theatre of most Franco-Spanish and Franco-Austrian wars during the 17th and 18th centuries. The reunification of the Low Countries as the United Kingdom of the Netherlands occurred at the dissolution of the First French Empire in 1815, although the franchise was initially restricted, universal suffrage for men was introduced after the general strike of 1893 and for women in 1949. The main political parties of the 19th century were the Catholic Party, French was originally the single official language adopted by the nobility and the bourgeoisie
Belgian
–
Charlemagne and
Charles V
Belgian
–
Flaga
Belgian
Belgian
–
Episode of the
Belgian Revolution of 1830 (1834), by
Egide Charles Gustave Wappers
3.
Academic art
–
Academic art, or Academicism, is a style of painting and sculpture produced under the influence of European academies of art. In this context it is often called academism, academicism, Lart pompier, and eclecticism, in this medicean institution students learned the arti del disegno and heard lectures on anatomy and geometry. Another academy, the Accademia di San Luca, was founded about a later in Rome. The Accademia di San Luca served a function and was more concerned with art theory than the Florentine one. Accademia di San Luca later served as the model for the Académie royale de peinture et de sculpture founded in France in 1648, and which later became the Académie des beaux-arts. The Académie royale de peinture et de sculpture was founded in an effort to distinguish artists who were practicing a liberal art from craftsmen. This emphasis on the component of artmaking had a considerable impact on the subjects. This battle of styles was a conflict over whether Peter Paul Rubens or Nicolas Poussin was a model to follow. Debates also occurred over whether it was better to learn art by looking at nature, academies using the French model formed throughout Europe, and imitated the teachings and styles of the French Académie. In England, this was the Royal Academy, one effect of the move to academies was to make training more difficult for women artists, who were excluded from most academies until the last half of the 19th century. This was partly because of concerns over the propriety of life classes with nude models, special arrangements were often made for female students until the 20th century. Since the onset of the debate, many artists worked between the two styles. In the 19th century, in the form of the debate, the attention. One artist after another was claimed by critics to have achieved the synthesis, among them Théodore Chassériau, Ary Scheffer, Francesco Hayez, Alexandre-Gabriel Decamps, and Thomas Couture. William-Adolphe Bouguereau, an academic artist, commented that the trick to being a good painter is seeing color. Another development during this period included adopting historical styles in order to show the era in history that the painting depicted, called historicism and this is best seen in the work of Baron Jan August Hendrik Leys, a later influence on James Tissot. Its also seen in the development of the Neo-Grec style, historicism is also meant to refer to the belief and practice associated with academic art that one should incorporate and conciliate the innovations of different traditions of art from the past. The art world also grew to give increasing focus on allegory in art, as artists attempted to synthesize these theories in practice, the attention on the artwork as an allegorical or figurative vehicle was emphasized
Academic art
–
Birth of Venus,
Alexandre Cabanel, 1863.
Academic art
–
Life class at the
Royal Danish Academy of Fine Arts in 1826 by
Wilhelm Bendz.
Academic art
–
Students painting "from life" at the École. Photographed late 1800s.
Academic art
–
Demosthenes at the Seashore, a Royal Academy prize winning drawing, 1888.
4.
Romanticism
–
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
Romanticism
–
Caspar David Friedrich,
Wanderer Above the Sea of Fog, 1818
Romanticism
–
Eugène Delacroix,
Death of Sardanapalus, 1827, taking its
Orientalist subject from a play by
Lord Byron
Romanticism
–
Philipp Otto Runge, The Morning, 1808
Romanticism
–
William Blake,
The Little Girl Found, from
Songs of Innocence and Experience, 1794
5.
Orientalism
–
In particular, Orientalist painting, representing the Middle East, was a genre of Academic art in the 19th century. Orientalism refers to the Orient, in reference and opposition to the Occident, the East, the word Orient entered the English language as the Middle French orient. In the “Monks Tale”, Geoffrey Chaucer wrote, “That they conquered many regnes grete / In the orient, with many a fair citee. ”The term “orient” refers to countries east of the Mediterranean Sea and Southern Europe. In Place of Fear, Aneurin Bevan used an expanded denotation of the Orient that comprehended East Asia, “the awakening of the Orient under the impact of Western ideas”. Edward Said said that Orientalism “enables the political, economic, cultural and social domination of the West, not just during colonial times, but also in the present. ”In art history, the term Orientalism refers to the works of the Western artists who specialized in Oriental subjects, produced from their travels in Western Asia, during the 19th century. In that time, artists and scholars were described as Orientalists, especially in France, in the 18th and 19th centuries, the term Orientalist identified a scholar who specialized in the languages and literatures of the Eastern world. Among such scholars is the philologist William Jones, whose studies of Indo-European languages established modern philology, additionally, Hebraism and Jewish studies gained popularity among British and German scholars in the 18th and 19th century. The academic field of Oriental studies, which comprehended the cultures of the Near East, the thesis of Orientalism develops Antonio Gramsci’s theory of cultural hegemony, and Michel Foucaults theorisation of discourse to criticise the scholarly tradition of Oriental studies. Said criticised contemporary scholars who perpetuated the tradition of outsider-interpretation of Arabo-Islamic cultures, especially Bernard Lewis, the analyses are of Orientalism in European literature, especially French literature, and do not analyse visual art and Orientalist painting. In that vein, the art historian Linda Nochlin applied Said’s methods of analysis to art. In the academy, the book Orientalism became a text of post-colonial cultural studies. Early architectural use of motifs lifted from the Indian subcontinent is known as Indo-Saracenic Revival architecture, one of the earliest examples is the façade of Guildhall, London. The style gained momentum in the west with the publication of views of India by William Hodges, examples of Hindoo architecture are Sezincote House in Gloucestershire, built for a nabob returned from Bengal, and the Royal Pavilion in Brighton. Venice, the trading partner of the Ottomans, was the earliest centre. Chinoiserie is the term for the fashion for Chinese themes in decoration in Western Europe, beginning in the late 17th century and peaking in waves, especially Rococo Chinoiserie. From the Renaissance to the 18th century, Western designers attempted to imitate the technical sophistication of Chinese ceramics with only partial success, Early hints of Chinoiserie appeared in the 17th century in nations with active East India companies, England, Denmark, the Netherlands and France. Tin-glazed pottery made at Delft and other Dutch towns adopted genuine Ming-era blue, Early ceramic wares made at Meissen and other centers of true porcelain imitated Chinese shapes for dishes, vases and teawares. Pleasure pavilions in Chinese taste appeared in the formal parterres of late Baroque and Rococo German palaces, Thomas Chippendales mahogany tea tables and china cabinets, especially, were embellished with fretwork glazing and railings, ca 1753–70
Orientalism
–
Anonymous Venetian orientalist painting, The Reception of the Ambassadors in Damascus, 1511, the
Louvre. The deer with antlers in the foreground is not known ever to have existed in the wild in
Syria.
Orientalism
–
Eugène Delacroix, The
Women of Algiers, 1834, the
Louvre,
Paris
Orientalism
–
The
Royal Pavilion in Brighton, England.
Orientalism
–
Baroque Red Mosque at
Schwetzingen Palace in Germany, finished in 1796.
6.
Royal Academy of Fine Arts (Antwerp)
–
The Royal Academy of Fine Arts Antwerp is an art academy located in Antwerp, Belgium. It is one of the oldest of its kind in Europe and it was founded in 1663 by David Teniers the Younger, painter to the Archduke Leopold Wilhelm and Don Juan of Austria. It houses the world-renowned Antwerp Fashion Academy, the Royal Academy developed into an internationally acclaimed institute for Fine Arts, Architecture and Design. From the nineteenth century on, the academy attracted young artists from abroad, irish, German, Dutch, Polish artists looking for a solid classical training found their way to Antwerp. Under the direction of Gustave Wappers and his registrar Hendrik Conscience, the academys significant art collection was exhibited in its own gallery space. By 1890, this gallery would develop into the Royal Museum of Fine Arts, in 1880, a promising young artist Henry Van de Velde enrolled at the Antwerp Academy. He would become one of the pioneering 20th century architects and designers, in 1885 and 1886, Vincent van Gogh was also to spend a short time at the Antwerp academy, prior to his departure to France. In 1885, King Leopold II commissioned the establishment of the National Higher Institute for Fine Arts Antwerp as a unique post graduate program, in 1946, the Architecture program became an independent institute, The National Higher Institute of Architecture. Another key moment in the history of the academy would be 1963, a unique new course ‘Fashion Design’ started. This course was successful from the beginning, but became world leading in the early eighties. “The Antwerp Six” with Dirk Bikkembergs, Walter Van Beirendonck, Marina Yee, Dries Van Noten, Dirk Van Saene, stylistically extremely diverse, these young friends had a huge impact on the contemporary fashion scene. The fashion program attracted more and more talents from all over the globe, with over 130 students its by far the largest program in the visual arts and design department. In 1995, the Flemish higher educational system faced a radical metamorphosis, the Antwerp Academy and the Henry Van de Velde Institute were included as faculties in a bigger college structure, The University College of Antwerp. However, the Higher Institute of Fine Arts was kept independent, the Academy nowadays offers three distinctive programs, Visual Arts and Design, Conservation studies and a one-year dedicated teachers training. A body of 540 students work in the four buildings located in the heart of the city. As of September 2013, the programs are offered by the Artesis Plantijn Hogeschool Antwerpen, shortly after the founding of Antwerp Academy, three large paintings were executed for its meeting hall. Antwerp, Nurse of Painters, by Theodoor Boeyermans, promotes the citys recent artistic past, portraits of Peter Paul Rubens and Anthony van Dyck watch over students as they practise the arts. At the centre is the allegorical Antverpia pictorum nutrix, chronos accompanies other young students who present their artwork
Royal Academy of Fine Arts (Antwerp)
–
The
Neoclassical entrance gate (1841-1843) designed by
Pierre Bourla
Royal Academy of Fine Arts (Antwerp)
–
Theodoor Boeyermans, Antwerp, Nurse of Painters (1665),
Royal Museum of Fine Arts, Antwerp.
7.
Vincent van Gogh
–
Vincent Willem van Gogh was a Dutch Post-Impressionist painter who is among the most famous and influential figures in the history of Western art. In just over a decade he created about 2,100 artworks, including around 860 oil paintings and his suicide at 37 followed years of mental illness and poverty. Born into a family, Van Gogh drew as a child and was serious, quiet. As a young man he worked as an art dealer, often travelling and he turned to religion, and spent time as a Protestant missionary in southern Belgium. He drifted in ill health and solitude before taking up painting in 1881 and his younger brother Theo supported him financially, and the two kept up a long correspondence by letter. His early works, mostly still lifes and depictions of peasant labourers, in 1886 he moved to Paris, where he met members of the avant-garde, including Émile Bernard and Paul Gauguin, who were reacting against the Impressionist sensibility. As his work developed he created a new approach to still lifes and his paintings grew brighter in colour as he developed a style that became fully realised during his stay in Arles in the south of France in 1888. During this period he broadened his subject matter to include trees, cypresses, wheat fields. Van Gogh suffered from episodes and delusions and though he worried about his mental stability, he often neglected his physical health, did not eat properly. His friendship with Gauguin ended after a confrontation with a razor and he spent time in psychiatric hospitals, including a period at Saint-Rémy. After he discharged himself and moved to the Auberge Ravoux in Auvers-sur-Oise near Paris and his depression continued and on 27 July 1890, Van Gogh shot himself in the chest with a revolver. He died from his injuries two days later, Van Gogh was unsuccessful during his lifetime, and was considered a madman and a failure. He became famous after his suicide, and exists in the imagination as the quintessential misunderstood genius. His reputation began to grow in the early 20th century as elements of his style came to be incorporated by the Fauves. The most comprehensive source on Van Gogh is the correspondence between him and his younger brother, Theo. Their lifelong friendship, and most of what is known of Vincents thoughts, Theo van Gogh was an art dealer and provided his brother with financial and emotional support, and access to influential people on the contemporary art scene. Theo kept all of Vincents letters to him, Vincent kept few of the letters he received, after both had died, Theos widow Johanna arranged for the publication of some of their letters. A few appeared in 1906 and 1913, the majority were published in 1914, Vincents letters are eloquent and expressive and have been described as having a diary-like intimacy, and read in parts like autobiography
Vincent van Gogh
–
Self-Portrait, Spring 1887, Oil on pasteboard, 42 × 33.7 cm.,
Art Institute of Chicago (F 345)
Vincent van Gogh
–
Vincent c. 1871-1872 aged 18. This photograph was taken at the time when he was working at the branch of
Goupil & Cie 's gallery in
The Hague.
Vincent van Gogh
–
Vincent c. 1866, approx. age 13
Vincent van Gogh
–
Van Gogh's drawing of
87 Hackford Road
8.
Polydore Beaufaux
–
Polydore Beaufaux was a Belgian painter. He favored Biblical scenes, portraits and genre pieces, from 1844 to 1850, he studied at the Royal Academy of Fine Arts. In 1857, he won the Prix de Rome for painting and he used his prize money to make a study trip from 1859 to 1863, visiting France and Italy, where he did a portrait of Pope Pius IX. The following year, he became a Professor at the Academy, léon Abry, Gerard Portielje and Edouard de Jans are among his best-known students. He exhibited regularly at the Paris Salon, in 1889, he made a trip to England, then left Antwerp to settle in Wavre. A year later, he became paralyzed in his hands and could no longer paint, allgemeines Künstlerlexikon, Vol.8, München-Leipzig,1994. Le peintre Polydore Beaufaux 1829—1905 Prix de Rome, —45 pp. Arcadja Auctions, Polydore Beaufaux Repro-Tableaux, Portrait of Leopold I
Polydore Beaufaux
–
Oriental Girl with a Dove (date unknown)
9.
Nicaise de Keyser
–
Nicaise de Keyser was a Belgian painter of mainly history paintings and portraits who was one of the key figures in the Belgian Romantic-historical school of painting. He received his painting tuition at the Antwerp Academy of Fine Arts under Jozef Jacobs, after 1835 he made many travels including to England and Scotland, Paris and Italy. He married the genre painter Isabella Telghuys on 6 October 1840, in 1846, he was elected to the National Academy of Design as an Honorary Academician. When in 1855 the leading Belgian Romantic painter Gustave Wappers resigned as director of the Antwerp Academy, De Keyser regularly travelled to Germany and in 1873 he was awarded the famous Prussian order Pour le Mérite. Despite his great success and fame throughout his lifetime, his work, De Keyser was an extremely prolific painter and is said to have produced more than 350 paintings. Having debuted with religious pictures, his attention was drawn to his countrys history. His breakthrough as a painter came with the canvas Battle of the Golden Spurs and it depicts a scene from an important historical battle between France and Flanders of 1302. Seeing the painting is said to have inspired the Belgian writer Hendrik Conscience to write his book De Leeuw van Vlaanderen about the Flemish battle for independence from the French, the success of de Keysers work was followed by his less impressive work, the Battle of Worringen of 1288. Starting in 1862, de Keyser painted a series of historical paintings that celebrated the Flemish school of art. The paintings were intended for the former Antwerp museum and academy building, when the new Royal Museum of Fine Arts in Antwerp was completed in the late nineteenth century, the paintings were transferred to the staircase of the museum. De Keyser belonged to the first wave of Belgian Romantic painters who had studied or spent time in Paris where they had come into contact with the new Romantic movement. Others in this group included Gustave Wappers, Louis Gallait, Ernest Slingeneyer, Edouard de Bièfve and they chose as the subject matter of their work important historical events in Belgium’s history which were regarded as key to the country’s national identity. De Keyser also painted genre paintings and elegantly refined portraits,1881, Grand Officer in the Order of Leopold, by royal decree of 4 mai 1881. Hymans, Notice sur la vie et les travaux de N. de Keyser, laurent Stevens, Bravo Toro, souvenir dune course de taureaux à Madrid, La peinture tauromachique de Nicaise de Keyser, Annales dhistoire de lart et darchéologie, vol.32,2010, p93-112. Media related to Nicaise De Keyser at Wikimedia Commons
Nicaise de Keyser
–
Nicaise de Keyser (1836) by
Charles Baugniet
Nicaise de Keyser
–
Battle of the Golden Spurs (1836).
Nicaise de Keyser
–
Leopold I of Belgium
Nicaise de Keyser
–
Louise d'Orléans, Queen of the Belgians
10.
Prix de Rome
–
The Prix de Rome was a French scholarship for arts students, initially for painters and sculptors, that was established in 1663 during the reign of Louis XIV of France. Winners were awarded a bursary that allowed them to stay in Rome for three to five years at the expense of the state, the prize was extended to architecture in 1720, music in 1803, and engraving in 1804. The prestigious award was abolished in 1968 by André Malraux, the Minister of Culture, the Prix de Rome was initially created for painters and sculptors in 1663 in France during the reign of Louis XIV. It was an annual bursary for promising artists having proved their talents by completing a very difficult elimination contest, the prize, organised by the Académie Royale de Peinture et de Sculpture, was open to their students. From 1666, the winner could win a stay of three to five years at the Palazzo Mancini in Rome at the expense of the King of France. In 1720, the Académie Royale d’Architecture began a prize in architecture, six painters, four sculptors, and two architects would be sent to the French Academy in Rome founded by Jean-Baptiste Colbert from 1666. Expanded after 140 years into five categories, the contest started in 1663 as two categories, painting and sculpture, in 1803, music was added, and after 1804 there was a prix for engraving as well. The primary winner took the First Grand Prize and the Second Prizes were awarded to the runners-up, in 1803, Napoleon Bonaparte moved the French Academy in Rome to the Villa Medici with the intention of preserving an institution once threatened by the French Revolution. At first, the villa and its gardens were in a sad state, in this way, he hoped to retain for young French artists the opportunity to see and copy the masterpieces of antiquity and the Renaissance. Jacques-Louis David, having failed to win the three years in a row, considered suicide. Édouard Manet, Edgar Degas, Ernest Chausson and Maurice Ravel attempted the Prix de Rome, but did not gain recognition. Ravel tried a total of five times to win the prize, during World War II the prize winners were accommodated in the Villa Paradiso in Nice. The Prix de Rome was abolished in 1968 by André Malraux, since then, a number of contests have been created, and the academies, together with the Institut de France, were merged by the State and the Minister of Culture. Selected residents now have an opportunity for study during an 18-month stay at The Academy of France in Rome, the heyday of the Prix de Rome was during the late eighteenth and early nineteenth centuries. The Prix de Rome for Architecture was created in 1720, the engraving prize was created in 1804. A Prix de Rome was also established in the Kingdom of Holland by Lodewijk Napoleon to award young artists and architects, during the years 1807–1810 prize winners were sent to Paris and onwards to Rome for study. Suspended in 1851 it was reinstated in 1870 by William III of the Netherlands, since then the winners have been selected by the Rijksakademie in Amsterdam under the main headings of architecture and the visual arts. The Belgian Prix de Rome is an award for artists, created in 1832
Prix de Rome
–
Palazzo Mancini, Rome, the seat of the Académie since 1725. Etching by
Giovanni Battista Piranesi, 1752.
Prix de Rome
–
The
Villa Medici as it looks today.
11.
Charles Verlat
–
Michel Marie Charles Verlat was a Belgian painter from Antwerp. He was a pupil of Nicaise de Keyser, and studied at the Antwerp Academy, in 1842 appeared his first important picture, Pippin the Short Killing a Lion. About 1849 he went to Paris, where he worked under Ary Scheffer, in 1855 he won a gold medal at the Exposition Universelle at Paris with his Tiger Attacking a Herd of Buffaloes, and in 1858 exhibited Le Coup de collier at the Paris Salon. In 1866 he was appointed director of the Weimar Saxon-Grand Ducal Art School, soon after his return to Antwerp in 1875 he visited Palestine, and brought back a large number of interesting pictures, including Vox Populi, The Tomb of Jesus, and The Flight into Egypt. In 1885 he was appointed director of the Royal Academy of Fine Arts Antwerp and he executed a series of original etchings, and published in 1879 a book on the Antwerp Academy. 1881, Commander in the Order of Leopold, P. & V. Berko, Dictionary of Belgian painters born between 1750 &1875, Knokke 1981, p. 754-757. P. & V. Berko, 19th Century European Virtuoso Painters, Knokke 2011, p.519, attribution This article incorporates text from a publication now in the public domain, Chisholm, Hugh, ed. Verlat, Michel Marie Charles. Media related to Charles Verlat at Wikimedia Commons
Charles Verlat
–
Charles Verlat in 1895
Charles Verlat
–
Young Lady of Bethlehem (1876)
12.
Venus of Milo
–
Aphrodite of Milos, better known as the Venus de Milo, is an ancient Greek statue and one of the most famous works of ancient Greek sculpture. Created sometime between 130 and 100 BCE, it is believed to depict Aphrodite, the Greek goddess of love and it is a marble sculpture, slightly larger than life size at 203 cm high. Part of an arm and the plinth were lost following its discovery. From an inscription that was on its plinth, it is thought to be the work of Alexandros of Antioch, earlier and it is currently on permanent display at the Louvre Museum in Paris. The statue is named after the Greek island of Milos, where it was discovered, the Aphrodite of Milos is widely renowned for the mystery of her missing arms. There is a hole below her right breast that originally contained a metal tenon that would have supported the separately carved right arm. Elsewhere the discoverers are identified as Yorgos Bottonis and his son Antonio and he apparently based these assertions on an article he had come across in the Century Magazine,1881, Vol. I, p.99. Olivier Voutier, a French naval officer, was exploring the island, with the help of the young farmer, Voutier began to dig around what were clearly ancient ruins. Within a few hours Voutier had uncovered Venus de Milo, twelve days out of Toulon the ship was anchored off the island of Melos. The marble base where the Venus de Milo originally stood still resides today on the property of his great, great nephew, Dimitri Moraitis. The Venus de Milo is a statue of a woman with an apple in her raised left hand. Even with a nose, the face was beautiful. DUrville the classicist recognized the Venus of the Judgement of Paris and it was, of course, the Venus de Milo. He was eager to acquire it, but his captain, apparently uninterested in antiquities, said there was nowhere to store it on the ship. Before he could take delivery, French sailors had to fight Greek brigands for possession, in the mêlée the statue was roughly dragged across rocks to the ship, breaking off both arms, and the sailors refused to go back to search for them. This story however proved to be a fabrication – Voutiers drawings of the statue when it was first discovered show that its arms were already missing, news of the discovery took longer than normal to get to the French ambassador. The peasant grew tired of waiting for payment and was pressured into selling it to Nicholas Mourousi, Grand Dragoman of the Fleet, working as a translator for Sultan Mahmud II in Constantinople. Upon arrival at the Louvre, the statue was reassembled, but the fragments of the left hand and this was a standard practice for many sculptors of the era—less visible parts of statues often were not so well finished since typically, they would be invisible to the casual observer
Venus of Milo
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Venus de Milo
Venus of Milo
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Front view
Venus of Milo
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Three-quarter view
Venus of Milo
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Back view
13.
Eugeen Van Mieghem
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Eugeen Van Mieghem was a Belgian artist born in the port of Antwerp. As a boy Van Mieghem was confronted with the reality of life at the waterfront. Even at primary school he showed a talent for drawing and he attended the Antwerp Academy but was sent from school because his conservative teachers disliked his subject matter and his free, spontaneous way with it. He threw his lot in with progressive political and cultural movements, by the early 1900s was recognized as one of the most promising young artists of the Antwerp school. He would never renounce his idealism and he became the artist of the typical harbour folk, sack porters, sack makers, emigrants, dockers, bargees, and tramps. Van Mieghem married Augustine Pautre in 1902, at the end of November 1904 his young wife fell ill. Van Mieghem depicted her in an series of drawings and pastels that rate alongside similar work by artists such as Rembrandt. Grief-stricken at the death of his wife, it was not before 1910 until Van Mieghem showed his work again, after his first individual exhibition at the Royal Society of Art of Antwerp in 1912 international interest in his work mounted and group exhibitions followed in Cologne and The Hague. In March 1919 he showed his work in Antwerp. This remarkable series of drawings and pastels met with the wide approval of art critics, who compared this work to that of Théophile-Alexandre Steinlen, Jean-Louis Forain. After an article by his friend and Flemish author Willem Elsschot appeared, in 1929 he became a teacher of life drawing at the Academy in Antwerp and he participated in exhibitions every year until his death in 1930. In European social art of the turn of the century, international art critics compare his work to that of figures like Käthe Kollwitz, de Toulouse-Lautrec, and Steinlen. Van Mieghem had no equal when it came down to drawing and painting the lives of ordinary people, when it comes to capturing social reality, his work has much of the power and authenticity of Jean-François Millets. Like the precursor of social art, Van Mieghem never had to leave his own environment in search of subjects, the world was on his doorstep. In recent years Van Mieghems work has been rediscovered internationally, in 2000 a Steinlen retrospective at the Picasso Museum in Barcelona included seven of his works and brought international recognition for his work. In 1993 a Van Mieghem Museum opened its doors in Antwerp with a collection of 150 of his works, in 2017 the Hugh Lane Gallery exhibited several of his works. P. & V. Berko, Dictionary of Belgian painters born between 1750 &1875, Knokke 1981, p. 712-713. The exhibition Off to the New World - Emigrants by Eugeen Van Mieghem at the Jewish Historical Museum in Amsterdam ran from 24 October 2003 until 2 February 2004
Eugeen Van Mieghem
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Women of the docks (Antwerp), Eugeen van Mieghem, Oil on canvas
14.
Henri Leys
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Henri Leys, Hendrik Leys or Jan August Hendrik, Baron Leys was a Belgian painter and printmaker. He was a representative of the historical or Romantic school in Belgian art. His history and genre paintings and portraits earned him a European-wide reputation and his style was influential on artists in, Henri Leys was born in Antwerp as the son of Hendrik-Jozef-Martinus Leys and Maria-Theresia Craen. His father ran a business specializing in religious images printed from old copper plates. The first etching by Henri Leys was an image made for his fathers shop in 1831. Henry Leys was not very interested in school but was keen on drawing. His parents supported his proclivity and let him study under a painter who lived next door. Leys subsequently studied at the Antwerp Academy of Fine Arts, from 1829 to 1832 he studied from the Antique, during this period he started to work in the studio of his brother-in-law, the genre painter Ferdinand de Braekeleer. One of Leys teachers at the Academy was Mattheus Ignatius van Bree, according to a widely circulated story, during a lecture by van Bree on the draping of the gown and peplos of figures from antiquity Leys made a remark about van Brees old-fashioned breeches. Van Bree did not appreciate the joke, but as the young hothead refused to apologize, the director evicted him from the Academy. Leys never returned to the Academy, not even as a teacher after he had achieved international success, from the start of his career Leys painted history and genre subjects. During this period Leys often collaborated with the Belgian Romantic painter Gustaf Wappers, both artists were interested in nationalistic subjects painted in styles that owe much to the example of 16th- and 17th-century Flemish painting. In 1835 Leys went to Paris where he visited the studio of Eugène Delacroix, the influence of Delaroches Romanticism is evident in Leys early work. His precocious talent was manifested at the Brussels Salon of 1836 where he exhibited his Massacre of the magistrates of Louvain for which he received high praise, Leys married Adelaïde van Haren in 1841. The couple had two daughters and a son, the family Leys initially lived in the Hobokenstraat. In 1855 Leys had a spacious house built in the street, which now bears his name. Fom 1857 to 1861 he worked on murals to decorate the room of his house. Leys became in 1852 member of the Kunstverbond or Cercle Artistique, Litéraire et Scientifique d’Anvers and its honorary chairman was the liberal mayor of Antwerp Jan Frans Loos
Henri Leys
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The Mass of Berthal de Haze
Henri Leys
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Lucie Leys, daughter of the painter
Henri Leys
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The vow
15.
Romani people
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The Romani are widely known among English-speaking people by the exonym Gypsies, which some people consider pejorative due to its connotations of illegality and irregularity. Romani are dispersed, with their populations in Europe – especially Central, Eastern and Southern Europe including Turkey, Spain. Since the 19th century, some Romani have also migrated to the Americas, there are an estimated one million Roma in the United States, and 800,000 in Brazil, most of whose ancestors emigrated in the nineteenth century from eastern Europe. Brazil also includes some Romani descended from people deported by the government of Portugal during the Inquisition in the colonial era, in migrations since the late nineteenth century, Romani have also moved to other countries in South America and to Canada. In February 2016, during the International Roma Conference, the Indian Minister of External Affairs stated that the people of the Roma community were children of India. The conference ended with a recommendation to the Government of India to recognize the Roma community spread across 30 countries as a part of the Indian diaspora, the Romani language is divided into several dialects, which add up to an estimated number of speakers larger than two million. The total number of Romani people is at least twice as large, many Romani are native speakers of the language current in their country of residence, or of mixed languages combining the two, those varieties are sometimes called Para-Romani. French bohème, bohémien, from the Kingdom of Bohemia, whence they came, Rom means man or husband in the Romani, it has the variants dom and lom, related with the Sanskrit words dam-pati, dama, lom, lomaka loman, roman. Another possible origin is from Sanskrit डोम doma, Sanskrit सिनधु is a river or stream of water in general. In particular, it denotes the river Indus and the country around it, in the Romani language, Rom is a masculine noun, meaning man of the Roma ethnic group or man, husband, with the plural Roma. The feminine of Rom in the Romani language is Romni, however, in most cases, in other languages Rom is now used for people of all genders. Romani is the adjective, while Romano is the masculine adjective. Some Romanies use Rom or Roma as a name, while others do not use this term as a self-ascription for the entire ethnic group. Sometimes, rom and romani are spelled with a r, i. e. rrom. In this case rr is used to represent the phoneme /ʀ/, the rr spelling is common in certain institutions, or used in certain countries, e. g. Romania, to distinguish from the endonym/homonym for Romanians. In the English language, Rom is a noun and an adjective, while Romani is also a noun, both Rom and Romani have been in use in English since the 19th century as an alternative for Gypsy. Romani was initially spelled Rommany, then Romany, while today the Romani spelling is the most popular spelling, occasionally, the double r spelling mentioned above is also encountered in English texts. The term Roma is increasingly encountered during recent decades, as a term for the Romani people
Romani people
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Romani wagon pictured in 2009 in
Grandborough (Grandborough Fields Road is a popular spot for travelling people)
Romani people
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Romani flag created in 1933 and accepted by the 1971
World Romani Congress
Romani people
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Romani Wagon in
Germany in 1935
Romani people
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Debret, Jean-Baptiste (c. 1820), Interior of a gipsy's house in
Brazil.
16.
Harem
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The structure of the harem and the extent of monogamy or polygamy has varied depending on the familys personalities, socio-economic status, and local customs. This private space has been understood as serving the purposes of maintaining the modesty, privilege. In former times, some harems were guarded by eunuchs who were allowed inside, there are several Renaissance paintings dating to the 16th century that defy Orientalist tropes and portray the women of the Ottoman harem as individuals of status and political significance. In many periods of Islamic history women in the harem exercised various degrees of political power, the word has been recorded in the English language since early 17th century. It comes from the Arabic ḥarīm, which can mean a sacred inviolable place, in English the term harem can mean also the wives of a polygamous man. The triliteral Ḥ-R-M appears in other terms related the notion of such as haram, mahram, ihram and al-Ḥaram al-Šarīf. In Turkish of the Ottoman era, the harem, i. e. the part of the reserved for women was called haremlık. Some scholars have used the term to refer to royal households throughout history. In Muscovite Russia the area of houses where women were secluded was known as terem. The idea of harem or seclusion of women did not originate with Muhammad or Islam and these practices were well established amongst the upper classes of Iraq, the Byzantine Empire, Ancient Greece and Persia for thousands of years before the advent of Islam. The practice of secluding women was common to many ancient near eastern communities, in pre-Islamic Assyria, Persia, and Egypt, most royal courts had a harem, where the ruler’s wives and concubines lived with female attendants, and eunuchs. The harem system first became fully institutionalized in the Islamic world under the Abbasid caliphate, Some scholars believe that Islamic culture adopted the custom of secluding women from the Byzantine Empire and Persia, and then read those customs back into the Quran. According to Eleanor Doumato, the practice of secluding women in Islam is based on both tradition and social custom. One verse in particular discusses hijab, in modern usage hijab colloquially refers to the religious attire worn by Muslim women, but its original meaning was a veil or curtain that physically separates female from male space. Leila Ahmed describes the ideal of seclusion as a a mans right to keep his women concealed-invisible to other men, Ahmed identifies the practice of seclusion as a social ideal and one of the four factors that shaped the lives of women in the Mediterranean Middle East. For example, contemporary sources from the Byzantine Empire describe the social mores that governed womens lives, Women were not supposed to be seen in public. They were guarded by eunuchs and could leave the home veiled. Some of these customs were borrowed from the Persians, but Greek society also influenced the development of patriarchal tradition, the ideal of seclusion was not fully realized as social reality
Harem
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A
harem bathhouse, from manuscript of the Zanan Nameh by Fazil Yildiz,
University of Istanbul.
Harem
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Harem Scene with Mothers and Daughters in Varying Costumes, One of 274 Vintage Photographs.
Brooklyn Museum.
Harem
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Sigiriya Fresco, Sri Lanka. c. 477 - 495 AD
Harem
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Turkish girls celebrating their liberation from a harem by
Kemal Atatürk, 1931
17.
Odalisque
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An odalisque was a chambermaid or a female attendant in a Turkish seraglio, particularly the court ladies in the household of the Ottoman sultan. The word odalisque is French in form and originates from the Turkish odalık, meaning chambermaid, from oda and it can also be transliterated odahlic, odalisk, and odaliq. In western usage, the term has come to refer specifically to the harem concubine, by the eighteenth century the term odalisque referred to the eroticized artistic genre in which a nominally eastern woman lies on her side on display for the spectator. An odalık was not a concubine of the harem, but a maid, an odalık was ranked at the bottom of the social stratification of a harem, serving not the man of the household, but rather, his concubines and wives as personal chambermaids. Odalık were usually given as gifts to the sultan by wealthy Turkish men. Generally, an odalık was never seen by the sultan but instead remained under the supervision of his mother. If an odalık was of beauty or had exceptional talents in dancing or singing. If selected, an odalık trained as a lady would serve the sultan sexually and only after such sexual contact would she change in status. In contrast to European depictions of nude women, they more often wore androgynous robes resembling those worn by the male pages of the palace. The conditions of the Ottoman harem resembled a monastery for young girls more than the bordello of European imagination. W. S. Gilbert refers to the Grace of an odalisque on a divan in Colonel Calverleys song If You Want A Receipt For That Popular Mystery from the Gilbert and Sullivan opera Patience. In popular use, the word also may refer to a mistress. During the 19th century, odalisques became common fantasy figures in the movement known as Orientalism. The gentlemen who wish to buy an odalisque or a wife, many Turks, indeed, prefer to take a slave as a wife, as, in such case, there is no need to dread fathers, mothers, or brothers-in-law, and other undesirable relations. In 2011 the Law Society of British Columbia brought a discipline hearing against a lawyer for referring to another lawyers client as living with an odalisque. The Law Society found the use of the word, though a poor choice. Culture of the Ottoman Empire Ottoman Sultans concubines Hammam Arab slave trade Islamic views on slavery Köçek Ottoman Turkish language Jeffrey Eugenides Middlesex, stretched across the couch, a Pisceasn Odalisque. The Imperial Harem by Leslie Pierce The Nature of the Early Ottoman State by Heath W Lowry
Odalisque
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Marià Fortuny - The Odalisque
Odalisque
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Grande Odalisque painted by
Jean Auguste Dominique Ingres (1814)
Odalisque
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Odalisque painted by
Jules Joseph Lefebvre (1874)
Odalisque
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A Reclining Odalisque, painted by
Gustave Léonard de Jonghe, c. 1870
18.
Netherlands Institute for Art History
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The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation, archives, and books on Western art from the late Middle Ages until modern times, all of this is open to the public, and much of it has been digitized and is available on their website. The main goal of the bureau is to collect, categorize, via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries. The library owns approximately 450,000 titles, of which ca.150,000 are auction catalogs, there are ca.3,000 magazines, of which 600 are currently running subscriptions. Though most of the text is in Dutch, the record format includes a link to library entries and images of known works. The RKD also manages the Dutch version of the Art and Architecture Thesaurus, the original version is an initiative of the Getty Research Institute in Los Angeles, California. Their bequest formed the basis for both the art collection and the library, which is now housed in the Koninklijke Bibliotheek. Though not all of the holdings have been digitised, much of its metadata is accessible online. The website itself is available in both a Dutch and an English user interface, in the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record, usually of the form, https, for example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number, to reference an artwork page directly, use the code listed at the bottom of the record, usually of the form, https, //rkd. nl/en/explore/images/ followed by the artworks record number. For example, the record number for The Night Watch is 3063. The Art and Architecture Thesaurus also assigns a record for each term, rather, they are used in the databases and the databases can be searched for terms. For example, the painting called The Night Watch is a militia painting, the thesaurus is a set of general terms, but the RKD also contains a database for an alternate form of describing artworks, that today is mostly filled with biblical references. To see all images that depict Miriams dance, the associated iconclass code 71E1232 can be used as a search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
Netherlands Institute for Art History
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As the logos on the window show, the RKD shares the same building located at
Den Haag Centraal with the National Archives, the Nederlands Letterkundig Museum (nl) (LM), the
Huygens ING, the
Netherlands Music Institute (NMI) and the
Koninklijke Bibliotheek.
19.
Virtual International Authority File
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The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
Virtual International Authority File
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Screenshot 2012
20.
Union List of Artist Names
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The Union List of Artist Names is an online database using a controlled vocabulary currently containing around 293,000 names and other information about artists. Names in ULAN may include names, pseudonyms, variant spellings, names in multiple languages. Among these names, one is flagged as the preferred name, the focus of each ULAN record is an artist. Currently there are around 120,000 artists in the ULAN, in the database, each artist record is identified by a unique numeric ID. Linked to each artist record are names, related artists, sources for the data, the temporal coverage of the ULAN ranges from Antiquity to the present and the scope is global. The ULAN includes proper names and associated information about artists, artists may be either individuals or groups of individuals working together. Artists in the ULAN generally represent creators involved in the conception or production of visual arts, repositories and some donors are included as well. Work on the ULAN began in 1984, when the Getty decided to merge, in 1987 the Getty created a department dedicated to compiling and distributing terminology. The ULAN grows and changes via contributions from the user community, although originally intended only for use by Getty projects, the broader art information community outside the Getty expressed a need to use ULAN for cataloging and retrieval. Its scope was broadened to include corporate bodies such as firms and repositories of art. The ULAN was founded under the management of Eleanor Fink, the ULAN has been constructed over the years by numerous members of the user community and an army of dedicated editors, under the supervision of several managers. The ULAN was published in 1994 in hardcopy and machine-readable files, given the growing size and frequency of changes and additions to the ULAN, by 1997 it had become evident that hard-copy publication was impractical. It is now published in automated formats only, in both a searchable online Web interface and in data files available for licensing, final editorial control of the ULAN is maintained by the Getty Vocabulary Program, using well-established editorial rules. The current managers of the ULAN are Patricia Harpring, Managing Editor, entities in the Person facet typically have no children. Entities in the Corporate Body facet may branch into trees, there may be multiple broader contexts, making the ULAN structure polyhierarchical. In addition to the relationships, the ULAN also has equivalent. Contributors to the Getty Vocabularies and implementers of the licensed vocabulary data may consult these guidelines as well
Union List of Artist Names
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Contents
Media related to Eugène Siberdt at Wikimedia Commons
