1.
Vienna
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Vienna is the capital and largest city of Austria and one of the nine states of Austria. Vienna is Austrias primary city, with a population of about 1.8 million, and its cultural, economic and it is the 7th-largest city by population within city limits in the European Union. Today, it has the second largest number of German speakers after Berlin, Vienna is host to many major international organizations, including the United Nations and OPEC. The city is located in the part of Austria and is close to the borders of the Czech Republic, Slovakia. These regions work together in a European Centrope border region, along with nearby Bratislava, Vienna forms a metropolitan region with 3 million inhabitants. In 2001, the city centre was designated a UNESCO World Heritage Site, apart from being regarded as the City of Music because of its musical legacy, Vienna is also said to be The City of Dreams because it was home to the worlds first psycho-analyst – Sigmund Freud. The citys roots lie in early Celtic and Roman settlements that transformed into a Medieval and Baroque city and it is well known for having played an essential role as a leading European music centre, from the great age of Viennese Classicism through the early part of the 20th century. The historic centre of Vienna is rich in architectural ensembles, including Baroque castles and gardens, Vienna is known for its high quality of life. In a 2005 study of 127 world cities, the Economist Intelligence Unit ranked the city first for the worlds most liveable cities, between 2011 and 2015, Vienna was ranked second, behind Melbourne, Australia. Monocles 2015 Quality of Life Survey ranked Vienna second on a list of the top 25 cities in the world to make a base within, the UN-Habitat has classified Vienna as being the most prosperous city in the world in 2012/2013. Vienna regularly hosts urban planning conferences and is used as a case study by urban planners. Between 2005 and 2010, Vienna was the worlds number-one destination for international congresses and it attracts over 3.7 million tourists a year. The English name Vienna is borrowed from the homonymous Italian version of the name or the French Vienne. The etymology of the name is still subject to scholarly dispute. Some claim that the name comes from Vedunia, meaning forest stream, which produced the Old High German Uuenia. A variant of this Celtic name could be preserved in the Czech and Slovak names of the city, the name of the city in Hungarian, Serbo-Croatian and Ottoman Turkish has a different, probably Slavonic origin, and originally referred to an Avar fort in the area. Slovene-speakers call the city Dunaj, which in other Central European Slavic languages means the Danube River, evidence has been found of continuous habitation since 500 BC, when the site of Vienna on the Danube River was settled by the Celts. In 15 BC, the Romans fortified the city they called Vindobona to guard the empire against Germanic tribes to the north
2.
Chelsea, London
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Chelsea is an affluent area in West London, bounded to the south by the River Thames. Its frontage runs from Chelsea Bridge along the Chelsea Embankment, Cheyne Walk, Lots Road and its eastern boundary was once defined by the River Westbourne, which is now in a pipe above Sloane Square tube station. The modern eastern boundary is Chelsea Bridge Road and the half of Sloane Street. To the north and northwest, the area fades into Knightsbridge and Brompton, the football club Chelsea F. C. is based at Stamford Bridge in neighbouring Fulham. From 1900, and until the creation of Greater London in 1965, the exclusivity of Chelsea as a result of its high property prices has historically resulted in the term Sloane Ranger being used to describe its residents. Since 2011, Channel 4 has broadcast a reality show called Made in Chelsea. Moreover, Chelsea is home to one of the largest communities of Americans living outside the United States, the word Chelsea originates from the Old English term for landing place for chalk or limestone. Abbot Gervace subsequently assigned the manor to his mother, and it passed into private ownership, the modern-day Chelsea hosted the Synod of Chelsea in 787 AD. King Henry VIII acquired the manor of Chelsea from Lord Sandys in 1536, in 1609 James I established a theological college, King Jamess College at Chelsey on the site of the future Chelsea Royal Hospital, which Charles II founded in 1682. By 1694, Chelsea – always a popular location for the wealthy, Kings Road, named for Charles II, recalls the Kings private road from St Jamess Palace to Fulham, which was maintained until the reign of George IV. One of the important buildings in Kings Road, the former Chelsea Town Hall. Part of the building contains the Chelsea Public Library and this is no longer the case, although housing trusts and Council property do remain. The areas to the west also attract very high prices and this former fashionable village was absorbed into London during the eighteenth century. Many notable people of 18th century London, such as the bookseller Andrew Millar, were married and buried in the district. The memorials in the churchyard of Chelsea Old Church, near the river and these include Lord and Lady Dacre, Lady Jane Cheyne, Francis Thomas, director of the china porcelain manufactory, Sir Hans Sloane, Thomas Shadwell, Poet Laureate. Sir Thomas Mores tomb can also be found there, in 1718, the Raw Silk Company was established in Chelsea Park, with mulberry trees and a hothouse for raising silkworms. At its height in 1723, it supplied silk to Caroline of Ansbach, Chelsea once had a reputation for the manufacture of Chelsea buns, made from a long strip of sweet dough tightly coiled, with currants trapped between the layers, and topped with sugar. The Chelsea Bun House sold these during the 18th century and was patronised by the Georgian royalty, at Easter, great crowds would assemble on the open spaces of the Five Fields – subsequently developed as Belgravia
3.
Miniature (illuminated manuscript)
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These include Persian miniatures, and their Mughal, Ottoman and other Indian offshoots. This article gives an art historical account of the miniature form, for the techniques involved in production, see illuminated manuscript. The earliest extant miniatures are a series of colored drawings or miniatures cut from the Ambrosian Iliad and they are similar in style and treatment with the pictorial art of the later Roman classical period. Of even greater value from a point of view are the miniatures of the Vatican manuscript of Virgil, known as the Vergilius Vaticanus. They are in a perfect condition and on a larger scale than the Ambrosian fragments. The drawing is quite classical in style, and the idea is conveyed that the miniatures are copies from an older series. The colors are opaque, indeed, in all the miniatures of early manuscripts the employment of body color was universal. The method followed in placing the different scenes on the page is highly instructive of the practice followed, as we may presume, by the artists of the early centuries. Again, for the purpose of securing something like perspective, an arrangement of zones was adopted. It was reserved for the Byzantine school to break away more decidedly from the natural presentment of things, but on comparing the miniatures of the Byzantine school generally with their classical predecessors, one has a sense of having passed from the open air into the cloister. Under the restraint of ecclesiastical domination Byzantine art became more and more stereotyped, the tendency grows to paint the flesh-tints in swarthy hues, to elongate and emaciate the limbs, and to stiffen the gait. Browns, blue-greys and neutral tints are in favor, in the miniatures of Byzantine manuscripts are first seen those backgrounds of bright gold which afterwards appear in such profusion in the productions of every western school of painting. The influence of Byzantine art on that of medieval Italy is obvious, the early mosaics in the churches of Italy, such as those at Ravenna and Venice, also afford examples of the dominating Byzantine influence. In the native schools of illumination of Western Europe, decoration only was the leading motive, the highest qualities of the miniatures of the 10th and 11th century of this school lie in fine outline drawing, which had a lasting influence on the English miniature of the later centuries. But the southern Anglo-Saxon school rather stands apart from the line of development of the western medieval miniature. Under the Carolingian monarchs there developed a school of painting derived from classical models, in this school, which owed its origin to the encouragement of Charlemagne, it is seen that the miniature appears in two forms. Accompanied as it was with profuse decoration in border and initial, on the other hand, there is also the miniature in which there is an attempt at illustration, as, for example, the depicting of scenes from the Bible. Here there is freedom, and we trace the classical style which copies Roman, as distinguished from Byzantine
4.
Francis II, Holy Roman Emperor
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Amalie Theresa was born on 6 April 1807 at the Hofburg Imperial Palace in Hofburg, Vienna and died the next day. Her mother fell ill after giving birth to her and died less than a week afterwards, as a daughter of the Holy Roman Emperor, she was born with the title Archduchess of Austria and the style Imperial and Royal Highness
5.
Landscape painting
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In other works, landscape backgrounds for figures can still form an important part of the work. Sky is almost always included in the view, and weather is often an element of the composition, detailed landscapes as a distinct subject are not found in all artistic traditions, and develop when there is already a sophisticated tradition of representing other subjects. The two main traditions spring from Western painting and Chinese art, going well over a thousand years in both cases. Landscape views in art may be imaginary, or copied from reality with varying degrees of accuracy. If the primary purpose of a picture is to depict an actual, specific place, especially including buildings prominently, within a few decades it was used to describe vistas in poetry, and eventually as a term for real views. However the cognate term landscaef or landskipe for a patch of land had existed in Old English. The earliest pure landscapes with no figures are frescos from Minoan Greece of around 1500 BCE. The frescos from the Tomb of Nebamun, now in the British Museum, are a famous example. These were frequently used, as in the illustrated, to bridge the gap between a foreground scene with figures and a distant panoramic vista, a persistent problem for landscape artists. The Chinese style generally showed only a distant view, or used dead ground or mist to avoid that difficulty, aesthetic theories in both regions gave the highest status to the works seen to require the most imagination from the artist. They were often also poets whose lines and images illustrated each other, a revival in interest in nature initially mainly manifested itself in depictions of small gardens such as the Hortus Conclusus or those in millefleur tapestries. The frescos of figures at work or play in front of a background of trees in the Palace of the Popes. Several frescos of gardens have survived from Roman houses like the Villa of Livia, a particular advance is shown in the less well-known Turin-Milan Hours, now largely destroyed by fire, whose developments were reflected in Early Netherlandish painting for the rest of the century. Landscape backgrounds for various types of painting became prominent and skilful during the 15th century. The Italian development of a system of graphical perspective was now known all over Europe. Indeed, certain styles were so popular that they became formulas that could be copied again and again, after the publication of the Small Landscapes, landscape artists in the Low Countries either continued with the world landscape or followed the new mode presented by the Small Landscapes. The popularity of landscape scenes can be seen in the success of the painter Frans Post. Salvator Rosa gave picturesque excitement to his landscapes by showing wilder Southern Italian country, there are different styles and periods, and subgenres of marine and animal painting, as well as a distinct style of Italianate landscape
6.
Claude Lorrain
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Claude Lorrain was a French painter, draughtsman and engraver of the Baroque era. He spent most of his life in Italy, and is one of the earliest important artists, apart from his contemporaries in Dutch Golden Age painting, to concentrate on landscape painting. His landscapes are usually turned into the more prestigious genre of paintings by the addition of a few small figures. By the end of the 1630s he was established as the leading landscapist in Italy and these gradually became larger, but with fewer figures, more carefully painted, and produced at a lower rate. He was not generally an innovator in painting, except in introducing the sun into many paintings. His patrons were also mostly Italian, but after his death he became popular with English collectors. He was a creator of drawings in pen and very often monochrome watercolour wash, usually brown. Chalk is sometimes used for under-drawing, and white highlighting in various media may be employed and these fall into three fairly distinct groups. Firstly there are numbers of sketches, mostly of landscapes, and apparently very often done at the scene, these have been greatly admired. Then there are studies for paintings, of various degrees of finish, many clearly done before or during the process of painting and this was certainly the case for the last group, the 195 drawings recording finished paintings collected in his Liber Veritatis. He produced over 40 etchings, often simplified versions of paintings and these served various purposes for him, but are now regarded as much less important than his drawings. He painted frescoes in his career, which played an important part in making his reputation. The earliest biographies of Claude are in Joachim von Sandrarts Teutsche Academie, both Sandrart and Baldinucci knew the painter personally, but at periods some 50 years apart, respectively at the start of his career and shortly before his death. Sandrart knew him well and lived with him for a while, while Baldinucci was probably not intimate with him, and derived much of his information from Claudes nephew, who lived with the artist. Claudes tombstone gives 1600 as his year of birth, but contemporary sources indicate a later date and he was born in the small village of Chamagne, Vosges, then part of the Duchy of Lorraine. He was the third of five sons of Jean Gellée and Anne Padose, according to Baldinucci, Claudes parents both died when he was twelve years old, and he then lived at Freiburg with an elder brother. Jean was an artist in inlay and taught Claude the rudiments of drawing, Claude then travelled to Italy, first working for Goffredo Wals in Naples, then joining the workshop of Agostino Tassi in Rome. Sandrarts account of Claudes early years, however, is quite different, according to Sandrart, Claude did not do well at the village school and was apprenticed to a pastry baker
7.
Nicolas Poussin
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Nicolas Poussin was the leading painter of the classical French Baroque style, although he spent most of his working life in Rome. His work is characterized by clarity, logic, and order, until the 20th century he remained a major inspiration for such classically oriented artists as Jacques-Louis David, Jean-Auguste-Dominique Ingres and Paul Cézanne. He worked in Rome for a circle of leading collectors from there and elsewhere, most of his works are history paintings of religious or mythological subjects that very often have a large landscape element. Early sketches attracted the notice of Quentin Varin, a painter, whose pupil Poussin became. There he entered the studios of the Flemish painter Ferdinand Elle and then of Georges Lallemand and he found French art in a stage of transition, the old apprenticeship system was disturbed, and the academic training destined to supplant it was not yet established by Simon Vouet. In Paris, Poussin was impressed by Italian art he viewed in the royal collection and he attempted to travel to Rome, but after reaching Florence he was forced, perhaps by ill health, to return to Paris. In 1622 he met Giambattista Marino, the poet to Marie de Medici. Marino employed him on illustrations for an edition of Ovids Metamorphoses. These Marino drawings preserved at Windsor Castle are among the few identifiable works of Poussin executed before his arrival in Rome. Marino took him into his household, and in 1624 enabled Poussin to rejoin him at Rome, Poussin was thirty when he arrived in Rome in 1624. At first he lodged with Simon Vouet, through Marino, he had been introduced to Marcello Sacchetti who in turn introduced him to another of his early patrons, Cardinal Francesco Barberini. However, their return from Spain in 1626 stabilized Poussin’s position, with renewed patronage by the Barberini and their circle. He fell ill at this time and was taken into the house of his compatriot Jacques Dughet, where he was nursed by Dughet’s daughter, Anna Maria and his two brothers-in-law were artists and Gaspard Dughet later took Poussin’s surname. During the late 1620s and 1630s, he experimented and formulated his own style and he studied the Antique as well as works such as Titian’s Bacchanals at the Casino Ludovisi and the paintings of Domenichino and Guido Reni. Peter’s, and an ingenious architectural imagination was emerging in works by Borromini, at the time the papacy was Rome’s foremost patron of the arts. Poussin’s Martyrdom of St. Erasmus for St and his subsequent career depended on private patronage. Louis XIII conferred on him the title of First Painter in Ordinary, in 1642, disgusted by the intrigues of Simon Vouet, Fouquières and the architect Jacques Lemercier, Poussin withdrew to Rome. There, in 1648, he finished for de Chantelou the second series of the Seven Sacraments and this painting shows the philosopher discarding his last worldly possession, his cup, after watching a man drink water by cupping his hands
8.
Salvator Rosa
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Salvator Rosa was an Italian Baroque painter, poet, and printmaker, who was active in Naples, Rome, and Florence. As a painter, he is best known as unorthodox and extravagant as well as being a perpetual rebel, Rosa was born in Arenella, at that time in the outskirts of Naples, on either June 20 or July 21,1615. His mother was Giulia Greca Rosa, a member of one of the Greek families of Sicily and his father, Vito Antonio de Rosa, a land surveyor, urged his son to become a lawyer or a priest, and entered him into the convent of the Somaschi Fathers. Yet Salvator showed a preference for the arts and secretly worked with his maternal uncle Paolo Greco to learn about painting. He soon transferred himself to the tutelage of his brother-in-law Francesco Fracanzano, a pupil of Ribera, and afterward to either Aniello Falcone, some sources claim he spent time living with roving bandits. He continued apprenticeship with Falcone, helping him complete his battlepiece canvases, in that studio, it is said that Lanfranco took notice of his work, and advised him to relocate to Rome, where he stayed from 1634–36. Returning to Naples, he began painting haunting landscapes, overgrown vegetation, or jagged beaches, mountains. Rosa was among the first to paint romantic landscapes, with a turn for scenes of picturesque, often turbulent and rugged scenes peopled with shepherds, brigands, seamen. These early landscapes were sold cheaply through private dealers and he returned to Rome in 1638–39, where he was housed by Cardinal Francesco Maria Brancaccio, bishop of Viterbo. For the Chiesa Santa Maria della Morte in Viterbo, Rosa painted his first and one of his few altarpieces, while Rosa had a facile genius at painting, he pursued a wide variety of arts, music, poetry, writing, etching, and acting. In Rome, he befriended Pietro Testa and Claude Lorrain, in costume, he inveighed against the farcical comedies acted in the Trastevere under the direction of Bernini. While his plays were successful, this activity also gained him enemies among patrons and artists, including Bernini himself. By late 1639, he had to relocate to Florence, where he stayed for eight years, in part, he had been invited by a Cardinal Gian Carlo de Medici. Once there, Rosa sponsored a combination of studio and salon of poets, playwrights, to the rigid art milieu of Florence, he introduced his canvases of wild landscapes, while influential, he gathered few true pupils. Another painter poet, Lorenzo Lippi, shared with Rosa the hospitality of the cardinal, Lippi encouraged him to proceed with the poem Il Malmantile Racquistato. He was well acquainted also with Ugo and Giulio Maffei, and was housed with them in Volterra, where he wrote four satires Music, Poetry, Painting, about the same time he painted his own portrait, now in the National Gallery, London. In 1646 he returned to Naples, and appears to have sympathized with the 1648 insurrection of Masaniello, whether he participated in the insurrection is unknown. He painted a portrait of Masaniello—probably from reminiscence rather than life, on the approach of Don Juan de Austria, the blood-stained Compagnia dispersed
9.
Johann Wilhelm Schirmer
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Johann Wilhelm Schirmer was a German landscape artist from Jülich, within the Prussian Duchy of Jülich. Johann Wilhelm Schirmer was started as a student of painting under Schadow at the academy of Düsseldorf. Later, he came under the influence of Carl Friedrich Lessing and landscape painting and he became known as one of the first of the Düsseldorf school of painting. In 1830 he became an Assistant Professor, and later, in 1839, in the meantime, he visited and painted in Belgium, the Black Forest, Switzerland, the Netherlands, Normandy and Italy. In 1854, he took up the role of a Director at the Art School at Karlsruhe and this artist is sometimes confused with August Wilhelm Ferdinand Schirmer, who had similar interests, and belonged to the same era. In addition, both were known by the name Wilhelm Schirmer, and were students of Wilhelm von Schadow, thurston, H. T. Colby, F. M. eds. This article incorporates text from a now in the public domain, Rines, George Edwin, ed. Schirmer
10.
Mount Kosciuszko
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With a height of 2,228 metres above sea level, it is the highest mountain in mainland Australia. Various measurements of the originally called Kosciuszko showed it to be slightly lower than its neighbour. The names of the mountains were swapped by the New South Wales Lands Department in 1892 so that Mount Kosciuszko remains the name of the highest peak of Australia, and Mount Townsend ranks as second. The 1863 picture by Eugene von Guerard hanging in the National Gallery of Australia titled Northeast view from the top of Mount Kosciusko is actually from Mount Townsend. The name of the mountain was previously spelt Mount Kosciusko, an Anglicisation, the traditional English pronunciation of Kosciuszko is /kɒziːˈʌskoʊ/, but the pronunciation /kɒˈʃʊʃkoʊ/ is now sometimes used, which is substantially closer to the Polish pronunciation. There are several native Aboriginal names associated with the mountain, with confusion as to the exact sounds. These are Jagungal, Jar-gan-gil, Tar-gan-gil, Tackingal, however, the mountain was formed, by geologic uplift. Mount Kosciuszko is the highest summit in mainland Australia, until 1977 it was possible to drive from Charlotte Pass to within a few metres of the summit, but in 1977 the road was closed to public motor vehicle access due to environmental concerns. The road is open from Charlotte Pass for walkers and cyclists for 7.6 kilometres to Rawson Pass, from there a 1. 4-kilometre walking path leads to the summit. Cyclists must leave their bicycles at a rack at Rawson Pass. Anyone with a modest level of fitness can walk to the top, the peak may also be approached from Thredbo, taking 3 to 3.5 hours for a round trip. This straightforward walk starts from the top of the Thredbo Kosciuszko Express chairlift, the walking path is popular in summer, and is a mesh walkway to protect the native vegetation and prevent erosion. It is 5 kilometres } to Rawson Pass, where it meets the track from Charlotte Pass, australias highest public toilet was built at this pass in 2007, to cope with the more than 100,000 people visiting the mountain each summer. The peak and the areas are snow-covered in winter and spring. The road from Charlotte Pass is marked by snow poles and provides a guide for cross-country skiers, Kosciuszko National Park is also the location of the downhill ski slopes closest to Canberra and Sydney, containing the Thredbo, Charlotte Pass, and Perisher ski resorts. Mount Kosciuszko may have been ascended by Indigenous Australians long before the first recorded ascent by Europeans, each year in December, an ultramarathon running race called the Coast to Kosciuszko ascends to the top of Mount Kosciuszko after starting at the coast 240 kilometres away. Paul Every, who is credited as being the one who thought of holding such a race, was the inaugural co-winner in 2004, higher peaks in the region, but outside the mainland continent, Puncak Jaya in New Guinea. It is the highest island mountain in the world, the highest mountain in Indonesia, Puncak Mandala in the Papua province of Indonesia
11.
Victoria (Australia)
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Victoria is a state in southeast Australia. Victoria is Australias most densely populated state and its second-most populous state overall, most of its population is concentrated in the area surrounding Port Phillip Bay, which includes the metropolitan area of its state capital and largest city, Melbourne, Australias second-largest city. Prior to British European settlement, the area now constituting Victoria was inhabited by a number of Aboriginal peoples. With Great Britain having claimed the entire Australian continent east of the 135th meridian east in 1788, Victoria was included in the wider colony of New South Wales. The first settlement in the area occurred in 1803 at Sullivan Bay, and much of what is now Victoria was included in the Port Phillip District in 1836, Victoria was officially created as a separate colony in 1851, and achieved self-government in 1855. Politically, Victoria has 37 seats in the Australian House of Representatives and 12 seats in the Australian Senate, at state level, the Parliament of Victoria consists of the Legislative Assembly and the Legislative Council. Victoria is currently governed by the Labor Party, with Daniel Andrews the current Premier, the personal representative of the Queen of Australia in the state is the Governor of Victoria, currently Linda Dessau. Local government is concentrated in 79 municipal districts, including 33 cities, although a number of unincorporated areas still exist, Victorias total gross state product is ranked second in Australia, although Victoria is ranked fourth in terms of GSP per capita because of its limited mining activity. Culturally, Melbourne is home to a number of museums, art galleries and theatres and is described as the sporting capital of Australia. The Melbourne Cricket Ground is the largest stadium in Australia, and the host of the 1956 Summer Olympics, Victoria has eight public universities, with the oldest, the University of Melbourne, having been founded in 1853. Victoria, like Queensland, was named after Queen Victoria, who had been on the British throne for 14 years when the colony was established in 1851. The first British settlement in the later known as Victoria was established in October 1803 under Lieutenant-Governor David Collins at Sullivan Bay on Port Phillip. In the year 1826 Colonel Stewart, Captain S. Wright, fly and the brigs Dragon and Amity, took a number of convicts and a small force composed of detachments of the 3rd and 93rd regiments. Victorias next settlement was at Portland, on the south west coast of what is now Victoria, edward Henty settled Portland Bay in 1834. Melbourne was founded in 1835 by John Batman, who set up a base in Indented Head, from settlement the region around Melbourne was known as the Port Phillip District, a separately administered part of New South Wales. Shortly after the now known as Geelong was surveyed by Assistant Surveyor W. H. Smythe. And in 1838 Geelong was officially declared a town, despite earlier white settlements dating back to 1826, days later, still in 1851 gold was discovered near Ballarat, and subsequently at Bendigo. Later discoveries occurred at sites across Victoria
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Media related to Eugene von Guerard at Wikimedia Commons
