1.
Argentan
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Argentan is a commune and the seat of two cantons and of an arrondissement in the Orne department in northwestern France. Argentan is located 180 km NE of Rennes,131 km ENE of the Mont Saint-Michel,188 km SE of Cherbourg,58 km SSE of Caen,133 km SW of Rouen and 100 km N of Le Mans, Argentan is situated near the Orne River. Although the region was populated during the Gallo Roman period the town is not mentioned until 1025–1026. The toponym comes from the Gaulois words, argentos and magos, the town grew in importance during the Middle Ages. Following the Viking invasion on the coast of northern France, the part of Neustria became Normandy. The Viking chief, Rollo, left the town to one of his lieutenants, throughout the Middle Ages, Argentan was either a rich place or totally burnt. English forces occupied the city several times, the Plantagenet had considered this town as one of the most important of Normandy. During the reign of Louis XIV, Colbert set Alençon against Argentan in a competition on lace making. Thus, the point dArgentan and the point dAlençon were created, Argentan became a very important town for traditional industry. It also gained in importance with the building of a Benedictine Abbey. During World War I, the French 104th Infantry Regiment/14th Infantry Brigade was stationed at Argentan and it participated in the battle of Verdun in 1916. During World War II, the city was almost totally destroyed, on 5 June 1944, on the eve of the Allied D-Day landing on the beaches of Normandy, the city suffered an important air raid in which the train station was destroyed. The city suffered damage when it was bombed on 6 and 7 June by B-17. The greatest part of the city was, however, left in two and half months later, at the end of August, during the battle of the Argentan-Falaise Pocket. Third Army, under the command of general George S. Patton liberated Argentan after eight days of violent combat against the German 9th Panzer Division, the U. S. 80th Infantry Division liberated the city in the morning of 20 August. Donjon of Argentan Tour Marguerite, a medieval tower Ducal Castle and it houses the St. archive. org/web/20110711022230/http, //www. france-horizons. com/Normandie/61-Orne/Argentan/fr/tourisme-argentan. html Tourism site]
2.
Orne
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Orne is a department in the northwest of France, named after the river Orne. Orne is one of the original 83 departments created during the French Revolution, on 4 March 1790 and it was created from parts of the former provinces of Normandy and Perche. Orne is in the region of Normandy neighbouring Eure, Eure-et-Loir, Sarthe, Manche, Mayenne and it is the only department of Normandy to be landlocked. The largest town by a margin is the prefecture, Alençon which is an administrative. There are no industrial centres, agriculture remains the economic focus of Orne. The inhabitants of the department are called Ornais, the recorded population level peaked at 443,688 in 1836. Once motor car ownership started to surge in the 1960s employment opportunities became less restricted, the two major cities in the Orne are Alençon, the prefecture, and Flers. Alençon is the town of the Orne department. Camembert, the village where Camembert cheese is made, is located in Orne, the local dialect is known as Augeron
3.
Gif-sur-Yvette
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Gif-sur-Yvette is a commune in the south-western suburbs of Paris, France. It is located 22.9 km from the center of Paris, the town is crossed by and named after the Yvette River. The total area is 11.60 km2 and 4.07 km2 is green spaces, also, the communes territory includes many forests such as the Hacquinière Wood and the dAigrefoin Wood. The neighboring communes of Gif-sur-Yvette are, Villiers-le-Bâcle, Saint-Aubin, Saclay, Orsay, Bures-sur-Yvette, Gometz-le-Châtel, Gometz-la-Ville, the human presence on the Moulon Plateau originates in Neolithic times. Agriculture was developed, notably during the Roman era, between the 12th and the 18th century, an important Benedictine abbey was built in Gif. In the 19th century, Gif remained very agricultural, in 1867, Gif was linked to the path of the Sceaux train. After the First World War, the Gif commune experienced an important demographic change, the town took the name Gif-sur-Yvette in 1930. Just after the Second World War, Gif-sur-Yvette acquired a scientific reputation, with the construction of the CNRS. The town was extended in 1975, with the creation of the Chevry section, from areas ceded by the Gometz-la-Ville, the Saint-Rémi Church was constructed in the 12th Century and remained until the 15th Century, a structure of Roman and Gothic architecture. Some ruins remain of an Benedictine abbey which was built in the 12th Century and it was officially registered in 1963. Inhabitants of Gif-sur-Yvette are known as Giffois, Gif-sur-Yvette is situated in the Science Valley of the Yvette River. Numerous research organizations exist in this area, such as the CNRS, the CEA, Supélec, the LGEP, also, Gif is home to the Centre National dÉtudes and of the National Police Academy. The CGT operates, since 1950, a permanent central college of Gif-sur-Yvette, Gif-sur-Yvette is served by two stations on Paris RER line B, Gif-sur-Yvette and Courcelle-sur-Yvette. Like all the stations on this line, one train goes towards/past Paris. The trains arrive generally at 15 minute intervals, louis Sédilot, early Quebec colonist Juliette Adam, founder of the Nouvelle Revue and operator of a famous literary club during the Third Republic. The Duke and Duchess of Windsors former country home Le Moulin de la Tuilerie, a sprawling dwelling created from an old mill, the couple bought the buildings in 1952 from the artist Drian and were weekend residents for some 20 years. It was the home they owned together. It has been restored as three individual holiday homes which are available to rent through the Landmark Trust and OWNERS DIRECT in the UK, among the Windsors famous guests at the house were Richard Burton and Elizabeth Taylor, Cecil Beaton and Marlene Dietrich
4.
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
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Printmaking
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Printmaking is the process of making artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints that have an element of originality, except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each print produced is not considered a copy but rather is considered an original, a print may be known as an impression. Printmaking is not chosen only for its ability to multiple impressions. Prints are created by transferring ink from a matrix or through a screen to a sheet of paper or other material. Screens made of silk or synthetic fabrics are used for the screenprinting process, other types of matrix substrates and related processes are discussed below. Multiple impressions printed from the matrix form an edition. Prints may also be printed in book form, such as illustrated books or artists books, Printmaking techniques are generally divided into the following basic categories, Relief, where ink is applied to the original surface of the matrix. Relief techniques include woodcut or woodblock as the Asian forms are known, wood engraving. Intaglio, where ink is applied beneath the surface of the matrix. Intaglio techniques include engraving, etching, mezzotint, aquatint, planographic, where the matrix retains its original surface, but is specially prepared and/or inked to allow for the transfer of the image. Planographic techniques include lithography, monotyping, and digital techniques, stencil, where ink or paint is pressed through a prepared screen, including screenprinting and pochoir. Other types of printmaking techniques outside these groups include collagraphy and viscosity printing, collagraphy is a printmaking technique in which textured material is adhered to the printing matrix. This texture is transferred to the paper during the printing process, Contemporary printmaking may include digital printing, photographic mediums, or a combination of digital, photographic, and traditional processes. Many of these techniques can also be combined, especially within the same family, for example, Rembrandts prints are usually referred to as etchings for convenience, but very often include work in engraving and drypoint as well, and sometimes have no etching at all. Woodcut, a type of print, is the earliest printmaking technique. It was probably first developed as a means of printing patterns on cloth, woodcuts of images on paper developed around 1400 in Japan, and slightly later in Europe. These are the two areas where woodcut has been most extensively used purely as a process for making images without text, the artist draws a design on a plank of wood, or on paper which is transferred to the wood
6.
Filmmaking
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Filmmaking is the process of making a film. Filmmaking takes place in places around the world in a range of economic, social, and political contexts. Typically, it involves a number of people, and can take from a few months to several years to complete. Film production consists of five stages, Development, The first stage in which the ideas for the film are created, rights to books/plays are bought etc. Financing for the project has to be sought and greenlit, pre-production, Preparations are made for the shoot, in which cast and film crew are hired, locations are selected and sets are built. Production, The raw elements for the film are recorded during the film shoot, post-production, The images, sound, and visual effects of the recorded film are edited. Distribution, The finished film is distributed and screened in cinemas and released to home video. In this stage, the project producer selects a story, which may come from a book, play, another film, true story, video game, comic book, graphic novel, or an original idea, etc. After identifying a theme or underlying message, the works with writers to prepare a synopsis. Next they produce an outline, which breaks the story down into one-paragraph scenes that concentrate on dramatic structure. Then, they prepare a treatment, a 25-to-30-page description of the story, its mood and this usually has little dialogue and stage direction, but often contains drawings that help visualize key points. Another way is to produce a scriptment once a synopsis is produced, next, a screenwriter writes a screenplay over a period of several months. The screenwriter may rewrite it several times to improve dramatization, clarity, structure, characters, dialogue, however, producers often skip the previous steps and develop submitted screenplays which investors, studios, and other interested parties assess through a process called script coverage. A film distributor may be contacted at a stage to assess the likely market. All these factors imply a certain appeal of the film to a possible audience, not all films make a profit from the theatrical release alone, so film companies take DVD sales and worldwide distribution rights into account. The producer and screenwriter prepare a film pitch, or treatment and they will also pitch the film to actors and directors in order to attach them to the project. Many projects fail to move beyond this stage and enter so-called development hell, if a pitch succeeds, a film receives a green light, meaning someone offers financial backing, typically a major film studio, film council, or independent investor. The parties involved negotiate a deal and sign contracts, once all parties have met and the deal has been set, the film may proceed into the pre-production period
7.
Cubism
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Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. Cubism has been considered the most influential art movement of the 20th century, the term is broadly used in association with a wide variety of art produced in Paris during the 1910s and extending through the 1920s. The movement was pioneered by Georges Braque and Pablo Picasso, joined by Andre Lhote, Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris. A primary influence that led to Cubism was the representation of form in the late works of Paul Cézanne. The impact of Cubism was far-reaching and wide-ranging, Cubism spread rapidly across the globe and in doing so evolved to a greater or lesser extent. In essence, Cubism was the origin of a process that produced diversity. In France, offshoots of Cubism developed, including Orphism, Abstract art, in other countries Futurism, Suprematism, Dada, Constructivism, De Stijl and Art Deco developed in response to Cubism. Other common threads between these movements include the faceting or simplification of geometric forms, and the association of mechanization. Cubism began between 1907 and 1911, Pablo Picassos 1907 painting Les Demoiselles dAvignon has often been considered a proto-Cubist work. Georges Braques 1908 Houses at L’Estaque prompted the critic Louis Vauxcelles to refer to bizarreries cubiques, Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings. A second phase, Synthetic Cubism, remained vital until around 1919, english art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. Douglas Coopers restrictive use of terms to distinguish the work of Braque, Picasso, Gris. Alternative interpretations of Cubism have therefore developed, wider views of Cubism include artists who were later associated with the Salle 41 artists, e. g. John Berger identifies the essence of Cubism with the mechanical diagram. The metaphorical model of Cubism is the diagram, The diagram being a symbolic representation of invisible processes, forces, structures. A diagram need not eschew certain aspects of appearance but these too will be treated as not as imitations or recreations. During the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian, artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein, at a time when artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks. Picassos paintings of 1907 have been characterized as Protocubism, as seen in Les Demoiselles dAvignon
8.
Modernism
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Among the factors that shaped modernism were the development of modern industrial societies and the rapid growth of cities, followed then by reactions of horror to World War I. Modernism also rejected the certainty of Enlightenment thinking, and many modernists rejected religious belief, the poet Ezra Pounds 1934 injunction to Make it new. Was the touchstone of the approach towards what it saw as the now obsolete culture of the past. In this spirit, its innovations, like the novel, atonal and twelve-tone music, divisionist painting and abstract art. Modernism explicitly rejected the ideology of realism and makes use of the works of the past by the employment of reprise, incorporation, rewriting, recapitulation, revision, others focus on modernism as an aesthetic introspection. While J. M. W. Art critic Clement Greenberg describes the Pre-Raphaelite Brotherhood as proto-Modernists, There the proto-Modernists were, of all people, the Pre-Raphaelites actually foreshadowed Manet, with whom Modernist painting most definitely begins. They acted on a dissatisfaction with painting as practiced in their time, rationalism has also had opponents in the philosophers Søren Kierkegaard and later Friedrich Nietzsche, both of whom had significant influence on existentialism. A major 19th-century engineering achievement was The Crystal Palace, the huge cast-iron, Glass and iron were used in a similar monumental style in the construction of major railway terminals in London, such as Paddington Station and Kings Cross Station. These technological advances led to the building of structures like the Brooklyn Bridge. The latter broke all previous limitations on how tall man-made objects could be and these engineering marvels radically altered the 19th-century urban environment and the daily lives of people. Arguments arose that the values of the artist and those of society were not merely different, but that Society was antithetical to Progress, the philosopher Schopenhauer called into question the previous optimism, and his ideas had an important influence on later thinkers, including Nietzsche. Darwins theory of evolution by natural selection undermined religious certainty and the idea of human uniqueness, in particular, the notion that human beings were driven by the same impulses as lower animals proved to be difficult to reconcile with the idea of an ennobling spirituality. Karl Marx argued that there were fundamental contradictions within the capitalist system, historians, and writers in different disciplines, have suggested various dates as starting points for modernism. Everdell also thinks modernism in painting began in 1885–86 with Seurats Divisionism, the poet Baudelaires Les Fleurs du mal, and Flauberts novel Madame Bovary were both published in 1857. In the arts and letters, two important approaches developed separately in France, the first was Impressionism, a school of painting that initially focused on work done, not in studios, but outdoors. Impressionist paintings demonstrated that human beings do not see objects, the school gathered adherents despite internal divisions among its leading practitioners, and became increasingly influential. A significant event of 1863 was the Salon des Refusés, created by Emperor Napoleon III to display all of the paintings rejected by the Paris Salon. While most were in standard styles, but by artists, the work of Manet attracted tremendous attention
9.
Sculpture
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Sculpture is the branch of the visual arts that operates in three dimensions. It is one of the plastic arts, a wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or molded, or cast. However, most ancient sculpture was painted, and this has been lost. Those cultures whose sculptures have survived in quantities include the cultures of the ancient Mediterranean, India and China, the Western tradition of sculpture began in ancient Greece, and Greece is widely seen as producing great masterpieces in the classical period. During the Middle Ages, Gothic sculpture represented the agonies and passions of the Christian faith, the revival of classical models in the Renaissance produced famous sculptures such as Michelangelos David. Relief is often classified by the degree of projection from the wall into low or bas-relief, high relief, sunk-relief is a technique restricted to ancient Egypt. Relief sculpture may also decorate steles, upright slabs, usually of stone, techniques such as casting, stamping and moulding use an intermediate matrix containing the design to produce the work, many of these allow the production of several copies. The term sculpture is used mainly to describe large works. The very large or colossal statue has had an enduring appeal since antiquity, another grand form of portrait sculpture is the equestrian statue of a rider on horse, which has become rare in recent decades. The smallest forms of life-size portrait sculpture are the head, showing just that, or the bust, small forms of sculpture include the figurine, normally a statue that is no more than 18 inches tall, and for reliefs the plaquette, medal or coin. Sculpture is an important form of public art, a collection of sculpture in a garden setting can be called a sculpture garden. One of the most common purposes of sculpture is in form of association with religion. Cult images are common in cultures, though they are often not the colossal statues of deities which characterized ancient Greek art. The actual cult images in the innermost sanctuaries of Egyptian temples, of which none have survived, were rather small. The same is true in Hinduism, where the very simple. Some undoubtedly advanced cultures, such as the Indus Valley civilization, appear to have had no monumental sculpture at all, though producing very sophisticated figurines, the Mississippian culture seems to have been progressing towards its use, with small stone figures, when it collapsed. Other cultures, such as ancient Egypt and the Easter Island culture, from the 20th century the relatively restricted range of subjects found in large sculpture expanded greatly, with abstract subjects and the use or representation of any type of subject now common. Today much sculpture is made for intermittent display in galleries and museums, small sculpted fittings for furniture and other objects go well back into antiquity, as in the Nimrud ivories, Begram ivories and finds from the tomb of Tutankhamun
10.
Film director
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A film director is a person who directs the making of a film. Generally, a film director controls a films artistic and dramatic aspects, the director has a key role in choosing the cast members, production design, and the creative aspects of filmmaking. Under European Union law, the director is viewed as the author of the film, the film director gives direction to the cast and crew and creates an overall vision through which a film eventually becomes realized, or noticed. Directors need to be able to mediate differences in creative visions, there are many pathways to becoming a film director. Some film directors started as screenwriters, cinematographers, film editors or actors, other film directors have attended a film school. Some outline a general plotline and let the actors dialogue, while others control every aspect. Some directors also write their own screenplays or collaborate on screenplays with long-standing writing partners, some directors edit or appear in their films, or compose the music score for their films. Film directors create a vision through which a film eventually becomes realized/noticed. Realizing this vision includes overseeing the artistic and technical elements of production, as well as directing the shooting timetable. This entails organizing the crew in such a way as to achieve their vision of the film. This requires skills of leadership, as well as the ability to maintain a singular focus even in the stressful. Moreover, it is necessary to have an eye to frame shots and to give precise feedback to cast and crew, thus. Thus the director ensures that all involved in the film production are working towards an identical vision for the completed film. The set of varying challenges he or she has to tackle has been described as a jigsaw puzzle with egos. It adds to the pressure that the success of a film can influence when, omnipresent are the boundaries of the films budget. Additionally, the director may also have to ensure an intended age rating, thus, the position of film director is widely considered to be a highly stressful and demanding one. It has been said that 20-hour days are not unusual, under European Union law, the film director is considered the author or one of the authors of a film, largely as a result of the influence of auteur theory. Auteur theory is a film criticism concept that holds that a directors film reflects the directors personal creative vision
11.
Figurative art
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However, abstract is sometimes used as a synonym for non-representational art and non-objective art, i. e. art which has no derivation from figures or objects. Figurative art is not synonymous with figure painting, although human, the difference is that in figurative art these elements are deployed to create an impression or illusion of form and space, and, usually, to create emphasis in the narrative portrayed. Figurative art is based upon a tacit understanding of abstracted shapes. Eventually idealization gave way to observation, and an art which balanced ideal geometry with greater realism was seen in Classical sculpture by 480 B. C. The Greeks referred to the reliance on visual observation as mimesis, until the time of the Impressionists, figurative art was characterized by attempts to reconcile these opposing principles. From the early Renaissance, Mannerism and the Baroque through 18th-, 19th- and he was a major inspiration for such classically oriented artists as Jacques-Louis David, Jean-Auguste-Dominique Ingres and Paul Cézanne. Abstract art Illustration Narrative art Neofigurative Art Realism Stuckism
12.
Populism
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Populism is a political doctrine that proposes that the common people are exploited by a privileged elite, and which seeks to resolve this. The underlying ideology of populists can be left, right, or center and its goal is uniting the uncorrupt and the unsophisticated little man against the corrupt dominant elites and their camp of followers. It is guided by the belief that political and social goals are best achieved by the actions of the masses. Political parties and politicians often use the terms populist and populism as pejoratives against their opponents, such a view sees populism as demagogy, merely appearing to empathize with the public through rhetoric or unrealistic proposals in order to increase appeal across the political spectrum. Populism is most common in democratic nations, historically, academic definitions of populism vary, and people have often used the term in loose and inconsistent ways to reference appeals to the people, demagogy, and catch-all politics. The term has also used as a label for new parties whose classifications are unclear. In recent years, academic scholars have produced definitions that facilitate populist identification and comparison, in the United States and Latin America, populism has generally been associated with the left, whereas in European countries, populism is more associated with the right. In both, the tenet of populism—that democracy should reflect the pure and undiluted will of the people—means it can sit easily with ideologies of both right and left. Cas Mudde says, Many observers have noted that populism is inherent to representative democracy, after all, most recently, many observers have categorized the rise of Donald Trump in the U. S. and Rodrigo Duterte in the Philippines as populist in nature. Populism has taken left-wing, right-wing, and even centrist forms, as well as forms of politics that bring together groups and individuals of diverse partisan views. The use of populist rhetoric in the United States has recently included references such as the trial lawyer lobby. Subsistence peasant movements, such as the Eastern European Green Rising militias, intellectuals who romanticize hard-working farmers and peasants and build radical agrarian movements like the Russian narodniki. Populist democracy, including calls for political participation through reforms such as the use of popular referenda. Politicians populism marked by non-ideological appeals for the people to build a unified coalition, reactionary populism, such as the white backlash harvested by George Wallace. Populist dictatorship, such as established by Getúlio Vargas in Brazil. Scholars have argued that populist elements have appeared in authoritarian movements. Conspiracist scapegoating employed by various populist movements can create a seedbed for fascism, National Socialist populism interacted with and facilitated fascism in interwar Germany. In this case, distressed middle–class populists mobilized their anger against the government, the Nazis parasitized the forms and themes of the populists and moved their constituencies far to the right through ideological appeals involving demagoguery, scapegoating, and conspiracism
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Pop art
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Pop art is an art movement that emerged in the mid-1950s in Britain and the late 1950s in the United States. Pop art presented a challenge to traditions of art by including imagery from popular culture such as advertising. In pop art, material is sometimes removed from its known context, isolated. Pop art employs aspects of culture, such as advertising, comic books. One of its aims is to use images of popular culture in art, emphasizing the banal or kitschy elements of any culture and it is also associated with the artists use of mechanical means of reproduction or rendering techniques. Pop art is interpreted as a reaction to the then-dominant ideas of abstract expressionism. Due to its utilization of found objects and images, it is similar to Dada, Pop art and minimalism are considered to be art movements that precede postmodern art, or are some of the earliest examples of postmodern art themselves. Pop art often takes imagery that is currently in use in advertising, product labeling and logos figure prominently in the imagery chosen by pop artists, seen in the labels of Campbells Soup Cans, by Andy Warhol. Even the labeling on the outside of a box containing food items for retail has been used as subject matter in pop art. The origins of pop art in North America developed differently from Great Britain, in the United States, pop art was a response by artists, it marked a return to hard-edged composition and representational art. They used impersonal, mundane reality, irony, and parody to defuse the personal symbolism, in the U. S. some artwork by Larry Rivers, Alex Katz and Man Ray anticipated pop art. By contrast, the origins of pop art in post-War Britain, while employing irony, early pop art in Britain was a matter of ideas fueled by American popular culture when viewed from afar. Similarly, pop art was both an extension and a repudiation of Dadaism, among those artists in Europe seen as producing work leading up to pop art are, Pablo Picasso, Marcel Duchamp, and Kurt Schwitters. During the 1920s, American artists Gerald Murphy, Charles Demuth and Stuart Davis created paintings that contained pop culture imagery, the Independent Group, founded in London in 1952, is regarded as the precursor to the pop art movement. They were a gathering of young painters, sculptors, architects, writers and their group discussions centered on pop culture implications from elements such as mass advertising, movies, product design, comic strips, science fiction and technology. This material of found objects such as advertising, comic characters, magazine covers. One of the collages in that presentation was Paolozzis I was a Rich Mans Plaything, following Paolozzis seminal presentation in 1952, the IG focused primarily on the imagery of American popular culture, particularly mass advertising. Nevertheless, Alloway was one of the critics to defend the inclusion of the imagery of mass culture in the fine arts
14.
Lower Normandy
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Lower Normandy is a former administrative region of France. On 1 January 2016, Lower and Upper Normandy merged becoming one region called Normandy and it covers 10,857 km2,3.2 percent of the surface area of France. The traditional districts of Lower Normandy include the Cotentin Peninsula and La Hague, the Campagne de Caen, the Norman Bocage, the Bessin, regions relating to Lower Normandy, Gallia Lugdunensis, Neustria, and Normandy. The traditional province of Normandy, with a history reaching back to the 10th century, was divided in 1956 into two regions, Lower Normandy and Upper Normandy. During the Roman era, the region was divided into several different city-states and that of Vieux was excavated in the 17th century, revealing numerous structures and vestiges bearing testimony to the prosperity of the Caen region. The region was conquered by the Franks in the 5th century, in the 9th century, the Norman conquests devastated the region. Much of the territory of Lower Normandy was added to the Duchy of Normandy in the 10th century, in 1066, Duke William Il of Normandy conquered England. After his death, Normandy went to his eldest son and England went to his second son, the victory of Tinchebray in 1106 gave Normandy to the kings of England again. Nearly one hundred years later, in 1204, King Philip II Augustus of France conquered the region, then, during the Hundred Years War, it was regained by the Plantagenets. However, the French recovered the mainland part of the region between 1436 and 1450, by 1453, the French monarchy controlled much of modern France apart from Calais, which remained in English hands. During the Second World War, the main thrust of Operation Overlord was focused on Lower Normandy, the beaches of Calvados were the site of the D-Day landings in June 1944. Lower Normandy suffered badly during the War, with many of its towns, the regions economy is heavily agricultural, with livestock and dairy farming, textiles and fruit production among its major industries. The region is the leader in France in the sectors of butter, fromage frais, soft cheeses, cider apples, cider, leeks, turnips, the region also breeds more horses than any other in France. The western part of the region is used mainly for farming, iron ore is mined near Caen. Tourism is also a major industry, the region has direct ferry links to England. In addition to French, Normandy has its own regional language and it is still in use today in Lower Normandy, with the dialects of the Cotentin more in evidence than others. Lower Normandy has also been the home of many well-known French authors, including Guy de Maupassant, Marcel Proust, notable Norman language authors connected especially with Lower Normandy include Alfred Rossel, Louis Beuve, and Côtis-Capel. In terms of music, composer Erik Satie also hailed from this region, in the visual arts, Jean-François Millet was a native of La Hague
15.
Versailles, Yvelines
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According to the 2008 census, the population of the city is 88,641 inhabitants, down from a peak of 94,145 in 1975. A new town, founded by the will of King Louis XIV, it was the de facto capital of the Kingdom of France for over a century, from 1682 to 1789, before becoming the cradle of the French Revolution. After having lost its status of city, it became the préfecture of Seine-et-Oise département in 1790, then of Yvelines in 1968. Versailles is historically known for numerous treaties such as the Treaty of Paris, which ended the American Revolutionary War and this word formation is similar to Latin seminare which gave French semailles. From May 1682, when Louis XIV moved the court and government permanently to Versailles, until his death in September 1715, during the various periods when government affairs were conducted from Versailles, Paris remained the official capital of France. Versailles was made the préfecture of the Seine-et-Oise département at its inception in March 1790, Versailles was made the préfecture of the Yvelines département, the largest chunk of the former Seine-et-Oise. At the 2006 census the Yvelines had 1,395,804 inhabitants, Versailles is the seat of a Roman Catholic diocese which was created in 1790. The diocese of Versailles is subordinate to the archdiocese of Paris, in 1975, Versailles was made the seat of a Court of Appeal whose jurisdiction covers the western suburbs of Paris. Since 1972, Versailles has been the seat of one of Frances 30 nationwide académies of the Ministry of National Education. Versailles is also an important node for the French army, a tradition going back to the monarchy with, for instance, the palace of Versailles is in the out-skirts of the city. Versailles is located 17.1 km west-southwest from the centre of Paris, the city of Versailles has an area of 26.18 km2, which is a quarter of the area of the city of Paris. In 1989, Versailles had a density of 3, 344/km2, whereas Paris had a density of 20. Born out of the will of a king, the city has a rational and symmetrical grid of streets, by the standards of the 18th century, Versailles was a very modern European city. Versailles was used as a model for the building of Washington, the name of Versailles appears for the first time in a medieval document dated 1038. In the end of the 11th century, the village curled around a medieval castle, the 14th century brought the Black Death and the Hundred Years War, and with it death and destruction. At the end of the Hundred Years War in the 15th century, in 1561, Martial de Loménie, secretary of state for finances under King Charles IX, became lord of Versailles. He obtained permission to four annual fairs and a weekly market on Thursdays. The population of Versailles was 500 inhabitants, Martial de Loménie was murdered during the St. Bartholomews Day massacre
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Yvelines
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Yvelines is a French department in the region of Île-de-France. It inherited Seine-et-Oises official number of 78 and it gained the communes of Châteaufort and Toussus-le-Noble from the adjacent department of Essonne in 1969. Yvelines is bordered by the departments of Val-dOise on the north, Hauts-de-Seine on the east, Essonne on the southeast, Eure-et-Loir on the southwest, and Eure on the west. Two regional parks can be found in Yvelines, the parc of the Haute Vallée de Chevreuse, Yvelines is home to one of Frances best known golf courses, La Tuilerie-Bignon, in the village of Saint-Nom-la-Bretèche. In French, a man from the Yvelines is called Yvelinois, a woman is Yvelinoise
17.
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
18.
Salon d'Automne
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The Salon dAutomne, or Société du Salon dautomne, is an annual art exhibition held in Paris, France since 1903. During the Salons early years, established such as Pierre-Auguste Renoir threw their support behind the new exhibition. Foreign artists are well represented. The Salon dAutomne also boasts the presence of a politician and patron of the arts and this was the idea behind Jourdains dream of opening a new Salon des Refusés in the late 1890s, and realized in the opening the Salon dAutomne in 1903. Providing a venue where artists could be recognized, while wrestling the public out of its complacency were, to Jourdain. The platform of the Salon dAutomne was based on an open admission, jurors were members of society itself, not members of the Academy, the state, or official art establishments. Refused exhibition space in the Grand Palais, the first Salon dAutomne was held in the poorly lit and it was backed financially by Jansen. While Rodin applauded the endeavor, and submitted drawings, he refused to join doubting it would succeed, notwithstanding, the first Salon dAutomne, which included works by Matisse, Bonnard and other progressive artists, was unexpectedly successful, and was met with wide critical acclaim. Even Paul Signac, president of the Salon des Indépendants, never forgave Jourdain for having founded a rival salon, what he had not predicted was a retaliation that threatened the future of the new salon. Carolus-Duran threatened to ban from his Société established artists who might consider exhibiting at the Salon dAutomne, retaliating in defense of Jourdain, Eugène Carrière issued a statement that if forced to choose, he would join the Salon dAutomne and resign from the Société Nationale des Beaux-Arts. The valuable publicity generated by the articles on the controversy worked in favor of the Salon dAutomne. Thus, Eugène Carrière saved the burgeoning salon, Henri Marcel, sympathetic to the Salon dAutomne, became director of the Beaux-Arts, and assured it would take place at the prestigious Grand Palais the following year. The success of the Salon dAutomne was not, however, due to such controversy, success was due to the tremendous impact of its exhibitions on both the art world and the general public, extending from 1903 to the outset of the First World War. He soon became known as a staunch critic of traditionalism and a fervent proponent of Modernism, yet even for him. The first Salon dAutumne exhibition opened 31 October 1903 at the Palais des Beaux-Arts de la Ville de Paris in Paris, Albert Gleizes exhibited two paintings, Vieux moulin à Montons-Villiers and Le matin à Courbevoie. A room at the 1904 Salon dAutome was dedicated to Paul Cézanne, with works, including various portraits, self-portraits, still lifes, flowers, landscapes. Another room presented works of Puvis de Chavannes, with 44 works, and another was dedicated to Odilon Redon with 64 works, including paintings, drawings and lithographs. Auguste Renoir and Henri de Toulouse-Lautrec too were represented in separate rooms with 35 and 28 works respectively, Vauxcelles described their work with the phrase Donatello chez les fauves, contrasting the orgy of pure tones with a Renaissance-style sculpture that shared the room with them
19.
Solomon R. Guggenheim Museum
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It is the permanent home of a continuously expanding collection of Impressionist, Post-Impressionist, early Modern and contemporary art and also features special exhibitions throughout the year. The museum was established by the Solomon R. Guggenheim Foundation in 1939 as the Museum of Non-Objective Painting, under the guidance of its first director and it adopted its current name after the death of its founder, Solomon R. Guggenheim, in 1952. In 1959, the museum moved from rented space to its current building, designed by Frank Lloyd Wright, the cylindrical building, wider at the top than the bottom, was conceived as a temple of the spirit. Its unique ramp gallery extends up from ground level in a long, the building underwent extensive expansion and renovations in 1992 and from 2005 to 2008. The museums collection has grown organically, over eight decades, and is founded several important private collections. The collection is shared with the museums sister museums in Bilbao, Spain, in 2013, nearly 1.2 million people visited the museum, and it hosted the most popular exhibition in New York City. Solomon R. Guggenheim, a member of a mining family, had been collecting works of the old masters since the 1890s. In 1926, he met artist Hilla von Rebay, who introduced him to European avant-garde art, in abstract art that she felt had a spiritual. Guggenheim completely changed his strategy, turning to the work of Wassily Kandinsky. He began to display his collection to the public at his apartment in the Plaza Hotel in New York City, as the collection grew, he established the Solomon R. Guggenheim Foundation, in 1937, to foster the appreciation of modern art. The foundations first venue for the display of art, the Museum of Non-Objective Painting, opened in 1939 under the direction of Rebay, in midtown Manhattan. By the early 1940s, the foundation had accumulated such a collection of avant-garde paintings that the need for a permanent museum building had become apparent. In 1943, Rebay and Guggenheim wrote a letter to Frank Lloyd Wright asking him to design a structure to house, Wright accepted the opportunity to experiment with his organic style in an urban setting. It took him 15 years,700 sketches, and six sets of working drawings to create the museum, in 1948, the collection was greatly expanded through the purchase of art dealer Karl Nierendorfs estate of some 730 objects, notably German expressionist paintings. By that time, the collection included a broad spectrum of expressionist and surrealist works, including paintings by Paul Klee, Oskar Kokoschka. Nevertheless, she left a portion of her collection to the foundation in her will, including works by Kandinsky, Klee, Alexander Calder, Albert Gleizes, Mondrian. The museum was renamed the Solomon R. Guggenheim Museum in 1952, Rebay conceived of the space as a temple of the spirit that would facilitate a new way of looking at the modern pieces in the collection. She wrote to Wright that each of these great masterpieces should be organized into space, would test the possibilities to do so
20.
Kunstmuseum Basel
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The Kunstmuseum Basel houses the largest and most significant public art collection in Switzerland, and is listed as a heritage site of national significance. Its collection is distinguished by a wide historic span, from the early 15th century up to the immediate present. Its various areas of emphasis give it international standing as one of the most significant museums of its kind and these encompass, paintings and drawings by artists active in the Upper Rhine region between 1400 and 1600, and on the art of the 19th to 21st centuries. The Kunstmuseum possesses the largest collection of works by the Holbein family, further examples of Renaissance art include important pieces by such masters as Konrad Witz, Hans Baldung, Martin Schongauer, Lucas Cranach the Elder and Mathias Grünewald. The main features of the 17th and 18th centuries are the Flemish and Dutch schools, German, in the 20th century, the focus is on works of Cubism with Picasso, Braque and Juan Gris. Expressionism is represented by figures as Edvard Munch, Franz Marc, Oskar Kokoschka. The collection also includes works from Constructivism, Dadaism and Surrealism, further highlights are the unique compilations of works from Pablo Picasso, Fernand Léger, Paul Klee, Alberto Giacometti and Marc Chagall. R. Penck, Brice Marden, Bruce Nauman, Jonathan Borofsky, Roni Horn, Francesco Clemente, Mimmo Paladino, Enzo Cucchi, Martin Disler, Leiko Ikemura, Markus Raetz, Rosemarie Trockel, the Kunstmuseum’s main building dates from 1936. In 2008, the acquired land on the other side of Dufourstrasse. With international stars — Zaha Hadid, Rafael Moneo, Tadao Ando and Jean Nouvel — all pitching, eventually a local firm, Christ & Gantenbein. The final design is a building, faced with concrete bricks. Building work for the $112 million project began in 2013 and was inaugurated in April 2016, the project was funded by the Canton of Basel-Stadt and the Laurenz Foundation, set up by Maja Oeri. The extension adds 2,750 square meters of galleries, to a total of nearly 10,000 square meters, the original museum now houses art from the 15th century to 1950, with later works in the extension. The upper floor of the new building houses temporary exhibitions and the middle floor, in 2013, the Kunstmuseum had 238,000 visitors. Kunstmuseum Basel website Basel museums website
21.
Montparnasse
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Montparnasse was absorbed into the capitals 14th arrondissement in 1669. Beneath the ground are tunnels of the Catacombs of Paris, students in the 17th century who came to recite poetry in the hilly neighbourhood nicknamed it after Mount Parnassus, home to the nine Muses of arts and sciences in Greek mythology. The hill was levelled to construct the Boulevard Montparnasse in the 18th century, during the French Revolution many dance halls and cabarets opened their doors. The area is known for cafes and bars, such as the Breton restaurants specialising in crêpes located a few blocks from the Gare Montparnasse. Montparnasse became famous in the 1920s, referred to as les Années Folles, virtually penniless painters, sculptors, writers, poets and composers came from around the world to thrive in the creative atmosphere and for the cheap rent at artist communes such as La Ruche. Living without running water, in damp, unheated studios, seldom free of rats, Jean Cocteau once said that poverty was a luxury in Montparnasse. First promoted by art dealers such as Daniel-Henry Kahnweiler, today works by those artists sell for millions of euros, in post-World War I Paris, Montparnasse was a euphoric meeting ground for the artistic world. Fernand Léger wrote of that period, “man…relaxes and recaptures his taste for life, his frenzy to dance, manuel Ortiz de Zárate, Camilo Mori and others made their way from Chile where the profound innovations in art spawned the formation of the Grupo Montparnasse in Santiago. Montparnasse was a community where creativity was embraced with all its oddities and they became good friends, Hamnett later recounting how she once borrowed a jersey and corduroy trousers from Modigliani, then went to La Rotonde and danced in the street all night. Between 1921 and 1924, the number of Americans in Paris swelled from 6,000 to 30,000, Robert McAlmon, and Maria and Eugene Jolas came to Paris and published their literary magazine Transition. As well, Bill Bird published through his Three Mountains Press until British heiress Nancy Cunard took it over, the cafés and bars of Montparnasse were a meeting place where ideas were hatched and mulled over. The cafés at the centre of Montparnasses night-life were in the Carrefour Vavin, if they fell asleep, the waiters were instructed not to wake them. Arguments were common, some fuelled by intellect, others by alcohol, and if there were fights, and there often were, the police were never summoned. If you couldnt pay your bill, people such as La Rotondes proprietor, Victor Libion, as such, there were times when the cafés walls were littered with a collection of artworks, that today would make the curators of the worlds greatest museums drool with envy. There were many areas where the great artists congregated, one of them being near Le Dôme at no.10 rue Delambre called the Dingo Bar. When Man Rays friend and Dadaist, Marcel Duchamp, left for New York and this is where his career as a photographer began, and where James Joyce, Gertrude Stein, Jean Cocteau and the others filed in and posed in black and white. The rue de la Gaité in Montparnasse was the site of many of the great music-hall theatres, on their stages, using then-popular single name pseudonyms or one birth name only, Damia, Kiki, Mayol and Georgius, sang and performed to packed houses. And here too, Les Six was formed, creating music based on the ideas of Erik Satie and that could not be seen in my town
22.
Alexander Archipenko
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Alexander Porfyrovych Archipenko was a Ukrainian-born American avant-garde artist, sculptor, and graphic artist. Alexander Archipenko was born in Kiev, in 1887, to Porfiry Antonowych Archipenko and Poroskowia Vassylivna Machowa Archipenko, he was the younger brother of Eugene Archipenko. From 1902 to 1905 he attended the Kiev Art School, after which he continued his education in the arts as the student of S. Svyatoslavsky in 1906, in the same year he had an exhibition, together with Alexander Bogomazov, in Kiev. Later that same year he moved to Moscow where he had a chance to exhibit his work in group shows. Archipenko moved to Paris in 1908 and was a resident in the artists colony La Ruche, among émigré Russian artists, Wladimir Baranoff-Rossine, Sonia Delaunay-Terk and Nathan Altman. In 1912 Archipenko had his first personal exhibition at the Museum Folkwang at Hagen in Germany, four of Archipenkos Cubist sculptures, including Family Life and five of his drawings, appeared in the controversial Armory Show in 1913 in New York City. These works were caricatured in the New York World, Archipenko moved to Nice in 1914. In 1920 he participated in Twelfth Biennale Internazionale dellArte di Venezia in Italy, in 1922 Archipenko participated in the First Russian Art Exhibition in the Gallery van Diemen in Berlin together with Aleksandra Ekster, Kazimir Malevich, Solomon Nikritin, El Lissitzky and others. In 1923 he emigrated to the United States, and participated in an exhibition of Russian Paintings and he became a US citizen in 1929. In 1933 he exhibited at the Ukrainian pavilion in Chicago as part of the Century of Progress Worlds Fair, Alexander Archipenko contributed the most to the success of the Ukrainian pavilion. His works occupied one room and were valued at $25,000 dollars, in 1936 Archipenko participated in an exhibition Cubism and Abstract Art in New York as well as numerous exhibitions in Europe and other places in the U. S. He was elected to the American Academy of Arts and Letters in 1962, Alexander Archipenko died on February 25,1964, in New York City. He is interred at Woodlawn Cemetery in The Bronx, New York City, the sculptor Ann Weaver Norton apprenticed with Archipenko for a number of years. O. P. Museum de Fundatie, Zwolle, Netherlands Archipenkos statue of King Solomon, at the University of Pennsylvania campus, dominates the walk from 36th and its creation began in 1964 when, shortly before he died, the artist completed a four–foot sculpture designed for enlargement. His wife oversaw its first casting, in 1968, the 14. 5-foot 1. 5-ton statue was produced. In 1985, it was given to the University by Mr, Cubist in form, it has been described as evoking the feeling of smallness in the face of power that one must have felt standing before King Solomon himself. National Gallery of Art, The Tel Aviv Museum, karshan, Donald H. Archipenko, International Visionary. Alexander Archipenko, A Memorial Exhibition 1967–1969, Александр Архипенко //Прогресс-Традиция,2011,624 стр
23.
Jacques Lipchitz
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Jacques Lipchitz was a Cubist sculptor, from late 1914. In 1920 Lipchitz held his first solo exhibition, at Léonce Rosenbergs Galerie LEffort Moderne in Paris, fleeing the Nazis he came to the US and settled in New York City and eventually Hastings-on-Hudson. Jacques Lipchitz was born Chaim Jacob Lipschitz, in a Litvak family, son of a contractor in Druskininkai, Lithuania. At first, under the influence of his father, he studied engineering, but soon after, supported by his mother he moved to Paris to study at the École des Beaux-Arts, living in this environment, Lipchitz soon began to create Cubist sculpture. In 1912 he exhibited at the Salon de la Société Nationale des Beaux-Arts, in 1922 he was commissioned by the Barnes Foundation in Merion, Pennsylvania to execute five bas-reliefs. With artistic innovation at its height, in the 1920s he experimented with abstract forms he called transparent sculptures, later he developed a more dynamic style, which he applied with telling effect to bronze compositions of figures and animals. With the German occupation of France during World War II, with the assistance of the American journalist Varian Fry in Marseille, he escaped the Nazi regime and went to the United States. There, he settled in Hastings-on-Hudson, New York. He was one of 250 sculptors who exhibited in the Third Sculpture International Exhibition held at the Philadelphia Museum of Art in the summer of 1949 and he has been identified among seventy of those sculptors in a photograph Life magazine published that was taken at the exhibition. In 1954 a Lipchitz retrospective traveled from The Museum of Modern Art in New York to the Walker Art Center in Minneapolis, in 1959, his series of small bronzes To the Limit of the Possible was shown at Fine Arts Associates in New York. Beginning in 1963 he returned to Europe for several months of year and worked in Pietrasanta. He developed a friendship with fellow sculptor, Fiore de Henriquez. In 1972 his autobiography, co-authored with H, harvard Arnason, was published on the occasion of an exhibition of his sculpture at the Metropolitan Museum of Art in New York. Jacques Lipchitz died in Capri, Italy and his body was flown to Jerusalem for burial. Hammacher, Abraham Marie, Jacques Lipchitz, His Sculpture, New York, hope, Henry Radford, The Sculpture of Jacques Lipchitz, New York, Plantin press, printed for the trustees of the Museum of Modern Art,1954. Lipchitz, Jacques, My Life in Sculpture, New York, stott, Deborah A. Jacques Lipchitz and Cubism, New York, Garland Pub. Van Bork, Bert, Jacques Lipchitz, The Artist at Work, New York, wilkinson, Alan G. Jacques Lipchitz, A Life in Sculpture, Toronto, Canada, Art Gallery of Ontario,1989. The Israel Museum, Jerusalem donated by Mr. Hanno D. Mott, interactive online version published 2010 Lipchitz, Jacques, Encyclopedia Treccani. it Jacques Lipchitz in American public collections, on the French Sculpture Census website
24.
Marc Chagall
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Marc Zakharovich Chagall was a Russian-French artist. Art critic Robert Hughes referred to Chagall as the quintessential Jewish artist of the twentieth century, according to art historian Michael J. Lewis, Chagall was considered to be the last survivor of the first generation of European modernists. For decades, he had also respected as the worlds preeminent Jewish artist. Using the medium of stained glass, he produced windows for the cathedrals of Reims and Metz, windows for the UN, and he also did large-scale paintings, including part of the ceiling of the Paris Opéra. Before World War I, he travelled between Saint Petersburg, Paris and Berlin, during this period he created his own mixture and style of modern art based on his idea of Eastern European Jewish folk culture. He had two basic reputations, writes Lewis, as a pioneer of modernism and as a major Jewish artist. He experienced modernisms golden age in Paris, where he synthesized the art forms of Cubism, Symbolism, and Fauvism, and the influence of Fauvism gave rise to Surrealism. Yet throughout these phases of his style he remained most emphatically a Jewish artist, when Matisse dies, Pablo Picasso remarked in the 1950s, Chagall will be the only painter left who understands what colour really is. Marc Chagall was born Moishe Segal in a Lithuanian Jewish family in Liozna, at the time of his birth, Vitebsks population was about 66,000, with half the population being Jewish. A picturesque city of churches and synagogues, it was called Russian Toledo, as the city was built mostly of wood, little of it survived years of occupation and destruction during World War II. Chagall was the eldest of nine children, the family name, Shagal, is a variant of the name Segal, which in a Jewish community was usually borne by a Levitic family. His father, Khatskl Shagal, was employed by a herring merchant and his father worked hard, carrying heavy barrels but earning only 20 roubles each month. Chagall would later include fish motifs out of respect for his father, writes Chagall biographer, Chagall wrote of these early years, Day after day, winter and summer, at six oclock in the morning, my father got up and went off to the synagogue. There he said his prayer for some dead man or other. On his return he made ready the samovar, drank some tea, hellish work, the work of a galley-slave. No word will ever ease my fathers lot, There was always plenty of butter and cheese on our table. Buttered bread, like a symbol, was never out of my childish hands. One of the sources of income of the Jewish population of the town was from the manufacture of clothing that was sold throughout Russia
25.
Joseph Csaky
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Joseph Csaky was a Hungarian avant-garde artist, sculptor, and graphic artist, best known for his early participation as a sculptor in the Cubist movement. Joseph Csaky was one of the first sculptors in Paris to apply the principles of pictorial Cubism to his art, a pioneer of modern sculpture, Csaky is among the most important sculptors of the early 20th century. He was an member of the Section dOr group between 1911 and 1914, and closely associated with De Stijl and Purism throughout the 1920s. Csaky fought alongside French soldiers during World War I and in 1922 became a naturalized French citizen and he was a founding member of lUnion des Artistes modernes in 1929. During World War II, Csaky joined forces with the French underground movement in Valençay, in the late 1920s, he collaborated with some other artists in designing furniture and other decorative pieces, including elements of the Studio House for the designer Jacques Doucet. After 1928, Csaky moved away from Cubism into a figurative or representational style for nearly thirty years. He exhibited internationally across Europe, but some of his pioneering artistic innovation was forgotten and his work today is primarily held by French and Hungarian institutions, as well as galleries and private collections both in France and abroad. József Csáky was born in Szeged, Hungary, then part of the monarchy of the Austro-Hungarian Empire. A provincial southern city, Szeged is now the third-largest in the country, Csaky moved with his family to Budapest at an early age, where he frequented museums and galleries. In 1905 Csaky was accepted at the Academy of Applied Arts in Budapest, where he studied under the direction of the sculptor Mátrai Lajos, ifj. for one and a half years. In 1907, for six and a half months, he worked in the Zsolnay Factory in Pécs, making ceramic ashtrays and he worked briefly as a metal founder in Budapest, and at one point with a taxidermist. Attracted by its reputation for lights and great artists, Csaky made the decision to move to Paris France and he traveled mostly by foot, walking fifty or sixty kilometers per day during the summer of 1908. In Paris a new world opened up for him and he made a living by doing odd jobs, working as a peddler, stone cutter, and posing as a model for students at a local art school, making 20 francs a week. He later posed for artists in their own studios, making more money. By autumn of 1908 he shared a space at Cité Falguière with Joseph Brummer. Within three weeks of Csakys arrival in Paris, Brummer showed the newcomer a sculpture he was working on, Brummer told Csaky that another artist in Paris, a Spaniard named Pablo Picasso, was painting in the spirit of Negro sculptures. Shortly after, Csaky found a studio at the artists collective La Ruche in Montparnasse, the building had been constructed by Gustave Eiffel, and was adapted as artists studios by the sculptor Alfred Boucher. Among other émigré artists at La Ruche were Alexander Archipenko, Wladimir Baranoff-Rossine, with his discovery of the work of Auguste Rodin laying the groundwork for an oeuvre characterized by a mastery of sculptural techniques, Csakys work in stone carving would evolve
26.
Robert Delaunay
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Robert Delaunay was a French artist who, with his wife Sonia Delaunay and others, cofounded the Orphism art movement, noted for its use of strong colours and geometric shapes. His later works were abstract, reminiscent of Paul Klee. His key influence related to use of colour and a clear love of experimentation with both depth and tone. Robert Delaunay was born in Paris, the son of George Delaunay, while he was a child, Delaunays parents divorced, and he was raised by his mothers sister Marie and her husband Charles Damour, in La Ronchère near Bourges. When he failed his exam and said he wanted to become a painter. At age 19, he left Ronsin to focus entirely on painting and contributed six works to the Salon des Indépendants in 1904. He traveled to Brittany, where he was influenced by the group of Pont-Aven, and, in 1906, he contributed works he painted in Brittany to the 22nd Salon des Indépendants, where he met Henri Rousseau. Delaunay formed a friendship at this time with Jean Metzinger. The two of them were singled out by the art critic Louis Vauxcelles in 1907 as Divisionists who used large, mosaic-like cubes to construct small, Robert Herbert writes, Metzingers Neo-Impressionist period was somewhat longer than that of his close friend Delaunay. The height of his Neo-Impressionist work was in 1906 and 1907, piet Mondrian developed a similar mosaic-like Divisionist technique circa 1909. The Futurists later would incorporate the style, under the influence of Gino Severinis Parisian works, into their dynamic paintings, Delaunay is most closely identified with Orphism. From 1912 to 1914, he painted nonfigurative paintings based on the characteristics of brilliant colors that were so dynamic they would function as the form. Apollinaire was strongly influenced by Delaunay’s theories of color and often quoted from them to explain Orphism, Delaunay’s fixations with color as the expressive and structural means were sustained with his study of color. He believes painting is a visual art that depends on intellectual elements. The contrasts and harmonies of color produce in the eye simultaneous movements, vision becomes the subject of painting. His early paintings are deeply rooted in Neoimpressionism, night Scene for example has vigorous activity with the use of lively brushstrokes in bright colors against a dark background. It doesn’t define solid object but the areas that surround them, spectral colors of Neoimpressionism were later abandoned, the Eiffel Tower series, were fragmentation of solid objects and their merging with space was learned. Influences in this series were Cézanne, Analytical Cubism, and Futurism, in the Eiffel Tower the interpenetration of tangible objects and surrounding space is accompanies by intense movement of geometric plans that are more dynamic than static equilibrium of Cubist forms
27.
Jean Metzinger
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Jean Dominique Antony Metzinger was a major 20th-century French painter, theorist, writer, critic and poet, who along with Albert Gleizes wrote a theoretical work on Cubism. His earliest works, from 1900 to 1904, were influenced by the Neo-impressionism of Georges Seurat, between 1904 and 1907 Metzinger worked in the Divisionist and Fauvist styles with a strong Cézannian component, leading to some of the first proto-Cubist works. From 1908 Metzinger experimented with the faceting of form, a style that would become known as Cubism. His early involvement in Cubism saw him both as an influential artist and an important theorist of the movement. The idea of moving around an object in order to see it from different view-points is treated, for the first time, in Metzingers Note sur la Peinture, before the emergence of Cubism, painters worked from the limiting factor of a single view-point. Jean Metzinger and Albert Gleizes wrote the first major treatise on Cubism in 1912, Metzinger was a founding member of the Section dOr group of artists. During the First World War Metzinger furthered his role as a leading Cubist with his co-founding of the phase of the movement. He recognized the importance of mathematics in art, through a radical geometrization of form as an underlying basis for his wartime compositions. As post-war reconstruction began, a series of exhibitions at Léonce Rosenbergs Galerie de LEffort Moderne were to highlight order, the collective phenomenon of Cubism—now in its advanced revisionist form—became part of a widely discussed development in French culture, with Metzinger at its helm. In terms of the separation of culture and life, this period emerges as the most important in the history of Modernism, for Metzinger, the classical vision had been an incomplete representation of real things, based on an incomplete set of laws, postulates and theorems. He believed the world was dynamic and changing in time, that it appeared different depending on the point of view of the observer, each of these viewpoints were equally valid according to underlying symmetries inherent in nature. Jean Metzinger came from a prominent military family and his great-grandfather, Nicolas Metzinger, Captain in the 1st Horse Artillery Regiment, and Chevalier of the Legion of Honour, had served under Napoleon Bonaparte. A street in the Sixième arrondissement of Nantes was named after Jeans grandfather, Jeans younger brother Maurice would become a musician, excelling as a cellist. By 1900 Jean was a student at Académie Cours Cambronne in Nantes, working under Hippolyte Touront, Metzinger, however, was interested in the current trends in painting. Metzinger sent three paintings to the Salon des Indépendants in 1903, and subsequently moved to Paris with the proceeds from their sale, from the age of 20, Metzinger supported himself as a professional painter. He would show four times at Weills gallery,17 January-1 February 1913, March 1913, June 1914. It is at Berthe Weills that he would meet Max Jacob for the first time, Berthe Weill was also the first Parisian art dealer to sell works of Picasso. Along with Picasso and Metzinger, she helped discover Matisse, Derain, Amedeo Modigliani, in 1904 Metzinger exhibited six paintings in the Divisionist style at the Salon des Indépendants and the Salon d’Automne
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Henri Le Fauconnier
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Henri Victor Gabriel Le Fauconnier was a French Cubist painter born in Hesdin. Le Fauconnier was seen as one of the leading figures among the Montparnasse Cubists, at the 1911 Salon des Indépendants Le Fauconnier and colleagues Jean Metzinger, Albert Gleizes, Fernand Léger and Robert Delaunay caused a scandal with their Cubist paintings. His paintings were exhibited in Moscow reproduced as examples of the latest art in Der Blaue Reiter Almanach. In 1901 Henri Le Fauconnier moved from northern France to Paris and he changed his from Fauconnier to Le Fauconnier and exhibited at the Salon des Indépendants in 1904 and 1905, implementing bold colors in line with Henri Matisse. He explored a style and put it into practice, painting nudes or portraits (such as that of the poet Pierre Jean Jouve in 1909. Under the influence of Paul Cézanne he developed his own form of Cubism, back in Paris, he mingles with the artistic and literary gathered around Paul Fort at the Closerie des Lilas in Montparnasse. At the 1909 Salon d’Automne Le Fauconnier exhibited alongside Constantin Brâncuși, Jean Metzinger, Metzinger had written in 1910 of mobile perspective as an interpretation of what would soon become known as Cubism with respect to Picasso, Braque, Delaunay and Le Fauconnier. At the invitation of Wassily Kandinsky, Le Fauconnier published a text in the catalog of the Neue Künstlervereinigung. He opened his Rue Visconti studio in Paris to artists eager like him to apply the lessons of Cézanne, with Jean Metzinger, Albert Gleizes, Fernand Léger, Robert Delaunay, he contributed to the Cubist scandal of the 1911 Salon des Indépendants. Le Fauconnier exhibited his vast Les Montagnards attaqués par des ours at the Salon dAutomne of 1912, february 1912 Henri Le Fauconnier was appointed to succeed Jacques-Émile Blanche as chef datelier of the avant-garde school of art Académie de La Palette. Le Fauconnier commissioned Jean Metzinger and André Dunoyer de Segonzac as full-time instructors for the sessions, Eugeniusz Żak. Le Fauconnier was a member of the Section dOr. At the outset of World War I Le Fauconnier moved to the Netherlands where he stayed for six years and his work at this time combined Cubism and Expressionism, which generated considerable success and influence in the Netherlands. He returned to France in 1920 where his paintings became more realistic and he died of a heart attack in Paris.1910, Little Schoolgirl,1907, The Signal,1915 The Huntsman,1912 Henri le Fauconnier The Modernist Journals Project
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Tubism
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Tubism is a term coined by the art critic Louis Vauxcelles in 1911 to describe the style of French artist Fernand Léger. Meant as derision, the term was inspired by Légers idiosyncratic version of Cubism, the style was developed by Léger in his paintings of 1909–1919, such as Nudes in the Forest and The Card Players. ISBN 0-7924-5848-6 Buck, Robert T. et al. Fernand Léger
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Albert Gleizes
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Albert Gleizes was a French artist, theoretician, philosopher, a self-proclaimed founder of Cubism and an influence on the School of Paris. Albert Gleizes and Jean Metzinger wrote the first major treatise on Cubism, Gleizes was a founding member of the Section dOr group of artists. He was also a member of Der Sturm, and his theoretical writings were originally most appreciated in Germany. Gleizes spent four years in New York, and played an important role in making America aware of modern art. He was a member of the Society of Independent Artists, founder of the Ernest-Renan Association, Gleizes exhibited regularly at Léonce Rosenberg’s Galerie de l’Effort Moderne in Paris, he was also a founder, organizer and director of Abstraction-Création. From the mid-1920s to the late 1930s much of his energy went into writing, La Peinture et ses lois, Vers une conscience plastique, La Forme et l’histoire and Homocentrisme. Born Albert Léon Gleizes and raised in Paris, he was the son of a designer who ran a large industrial design workshop. He was also the nephew of Léon Comerre, a portrait painter who won the 1875 Prix de Rome. The young Albert Gleizes did not like school and often skipped classes to idle away the time writing poetry, finally, after completing his secondary schooling, Gleizes spent four years in the 72nd Infantry Regiment of the French army then began pursuing a career as a painter. Gleizes began to paint self-taught around 1901 in the Impressionist tradition and his first landscapes from around Courbevoie appear particularly inspired by Sisley or Pissarro. The density with which these works are painted and their solid framework suggest affinities with Divisionism which were noted by early critics. Gleizes was only years of age when his work titled La Seine à Asnières was exhibited at the Société Nationale des Beaux-Arts in 1902. The following year Gleizes exhibited two paintings at the Salon dAutomne, in 1905 Gleizes was among the founders of lAssociation Ernest-Renan, a union of students opposed to military propaganda. Gleizes was in charge of the Section littéraire et artistique, organizing theater productions, at the Musée des Beaux-Arts de Lyon, Gleizes exhibited Jour de marché en banlieue. Tending towards 1907 his work evolved into a Post-Impressionist style with strong Naturalist and Symbolist components, Gleizes and others decide to create an association fraternelle dartistes and rent a large house in Créteil. The Abbaye de Créteil was a community of artists that aimed to develop their art free of any commercial concerns. For nearly a year, Gleizes along with painters, poets, musicians and writers. A lack of income forced them to give up their cherished Abbaye de Créteil in early 1908 and Gleizes moved to rue du Delta near Montmartre, in 1908 Gleizes exhibited at the Toison dOr in Moscow
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Francis Picabia
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Francis Picabia was a French avant-garde painter, poet and typographist. After experimenting with Impressionism and Pointillism, Picabia became associated with Cubism and his highly abstract planar compositions were colourful and rich in contrasts. He was one of the major figures of the Dada movement in the United States. He was later associated with Surrealism, but would soon turn his back on the art establishment. Francis Picabia was born in Paris of a French mother and a Cuban father who was an attaché at the Cuban legation in Paris and his mother died of tuberculosis when he was seven. Some sources would have his father as of aristocratic Spanish descent, whereas others consider him of non-aristocratic Spanish descent, financially independent, Picabia studied under Fernand Cormon and others at the École des Arts Decoratifs in the late 1890s. Fernand Cormon took him into his academy at 104 boulevard de Clichy, from the age of 20, he lived by painting, he subsequently inherited money from his mother. In the beginning of his career, from 1903 to 1908, little churches, lanes, roofs of Paris, riverbanks, wash houses, lanes, barges—these were his subject matter. Some however, began to question his sincerity and said he copied Sisley, or that his cathedrals looked like Monet, from 1909, he came under the influence of those that would soon be called Cubists and later form the Golden Section. The same year, he married Gabrielle Buffet, around 1911 Picabia joined the Puteaux Group, members of which he met at the studio of Jacques Villon in Puteaux, a commune in the western suburbs of Paris. There he became friends with artist Marcel Duchamp and close friends with Guillaume Apollinaire, other group members included Albert Gleizes, Roger de La Fresnaye, Fernand Léger and Jean Metzinger. From 1913 to 1915 Picabia traveled to New York City several times and took part in the avant-garde movements. The magazine 291 devoted an issue to him, he met Man Ray, Gabrielle and Duchamp joined him, drugs and alcohol became a problem. He suffered from dropsy and tachycardia and these years can be characterized as Picabias proto-Dada period, consisting mainly of his portraits mécaniques. He continued the periodical with the help of Marcel Duchamp in the United States, in Zurich, seeking treatment for depression and suicidal impulses, he had met Tristan Tzara, whose radical ideas thrilled Picabia. Picabia, the provocateur, was back home, Picabia continued his involvement in the Dada movement through 1919 in Zürich and Paris, before breaking away from it after developing an interest in Surrealist art. He denounced Dada in 1921, and issued an attack against Breton in the final issue of 391. The same year, he put in an appearance in the René Clair surrealist film Entracte, the film served as an intermission piece for Picabias avant-garde ballet, Relâche, premiered at the Théâtre des Champs-Élysées, with music by Erik Satie
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Jacques Villon
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Jacques Villon was a French Cubist painter and printmaker. Born Emile Méry Frédéric Gaston Duchamp in Damville, Eure, in the Haute-Normandie region of France, he came from a prosperous, while he was a young man, his maternal grandfather Emile Nicolle, successful businessman and artist, taught him and his siblings. There, he studied law at the University of Paris, to distinguish himself from his siblings, Gaston Duchamp adopted the pseudonym of Jacques Villon as a tribute to the French medieval poet François Villon. His work appeared in the satirical weekly Le Courrier français, in 1903 he helped organize the drawing section of the first Salon dAutomne in Paris. In 1904-1905 he studied art at the Académie Julian, during the First World War, Villon worked as a cartographer for the army. At first, he was influenced by Edgar Degas and Henri de Toulouse-Lautrec, but later he participated in the fauvist, Cubist, by 1906, Montmartre was a bustling community and Jacques Villon moved to Puteaux in the quiet outskirts of Paris. There, he began to more of his time to working in drypoint. During this time he worked closely to develop his technique with other important printmakers such as Manuel Robbe and his isolation from the vibrant art community in Montmartre, together with his modest nature, ensured that he and his artwork remained obscure for a number of years. Villon was instrumental in having the group exhibit under the name Section dOr after the section of classical mathematics. Their first show, Salon de la Section dOr, held at the Galerie La Boétie in October 1912, in 1913, Villon created seven large drypoints in which forms break into shaded pyramidal planes. That year, he exhibited at the Armory Show in New York City and his works proved popular and all his art sold. From there, his reputation expanded so that by the 1930s he was known in the United States than in Europe. In May 2004, an oil painting by Villon dated 1913 entitled LAcrobate, an exhibition of Jacques Villons work was held in Paris in 1944 at the Galerie Louis Carré, following which he received honors at a number of international exhibitions. In 1938 he was named Chevalier of the Legion of Honor, in 1947 he was promoted to Officier of the Legion of Honor. In 1950, Villon received the Carnegie Prize, the highest award for painting in the world, the following year he was commissioned to design stained-glass windows for the cathedral at Metz, France. In 1956 he was awarded the Grand Prix at the Venice Biennale exhibition, Villon died in his studio at Puteaux. In 1967, in Rouen, his last surviving artist brother Marcel helped organize an exhibition called Les Duchamp, Jacques Villon, Raymond Duchamp-Villon, Marcel Duchamp, some of this family exhibition was later shown at the Musée National dArt Moderne in Paris. C. Art Gallery of New South Wales, Bibliothèque Nationale, Paris, leading private collections which include the works of Villon are the Joachim Collection of Chicago, the Vess Collection of Detroit, and the Ginestet Collection of Paris
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Raymond Duchamp-Villon
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Raymond Duchamp-Villon was a French sculptor. Duchamp-Villon was born Pierre-Maurice-Raymond Duchamp in Damville, Eure, in the Haute-Normandie region of France, of the six Duchamp children, four would become successful artists. He was the brother of Jacques Villon, painter, printmaker, Marcel Duchamp, painter, sculptor and author, Suzanne Duchamp-Crotti, from 1894 to 1898 Raymond Duchamp-Villon lived in the Montmartre Quarter of Paris with his brother Jacques and studied medicine at the Sorbonne. Rheumatic fever forced him to abandon his studies in 1898 and it left him incapacitated for a time. This unforeseen event altered the course of his life as he began to pursue an interest in sculpture and he started by creating small statuettes and essentially became self-taught, achieving a high level of mastery and acumen. In 1902 and 1903, he exhibited at the Salon de la Société Nationale des Beaux-Arts but to himself from his artist brother. In 1905 Duchamp-Villon had his first exhibition at the Salon dAutomne, raymonds reputation was such that he was made a member of the jury of the sculpture section of the Salon dAutomne in 1907 and was instrumental in promoting the Cubist movement. All three of the Duchamp brothers then showed their work at the important Armory Show in New York City that helped introduce modern art to America, in 1913 he took part in exhibitions at the Galerie André Groult in Paris, the Galerie S. V. U. Mánes in Prague, and in 1914 at Der Sturm Gallery in Berlin, during World War I Raymond Duchamp-Villon served in the French army in a medical capacity, but still worked on his major cubist sculpture, The Horse. In late 1916, Raymond Duchamp-Villon contracted typhoid fever while stationed at the quarters in Champagne. As a result, he was taken to the hospital at Cannes where his burgeoning career came to an end with his death. In 1967, in Rouen, his last surviving artist brother Marcel helped organize an exhibition called Les Duchamp, Jacques Villon, Raymond Duchamp-Villon, Marcel Duchamp, some of this family exhibition was later shown at the Musée National dArt Moderne in Paris. Henry Holt and Company, Inc.1996, ISBN 0-8050-5789-7 Cubism La Maison Cubiste Tomkins, Calvin, Duchamp, A Biography. Henry Holt and Company, Inc.1996, ISBN 0-8050-5789-7 Raymond Duchamp-Villons Horse Smarthistory Raymond Duchamp-Villon in American public collections, on the French Sculpture Census website
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Marcel Duchamp
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Duchamp has had an immense impact on twentieth-century and twenty first-century art. By World War I, he had rejected the work of many of his artists as retinal art. Instead, Duchamp wanted to use art to serve the mind, Marcel Duchamp was born at Blainville-Crevon in Normandy, France, and grew up in a family that enjoyed cultural activities. The art of painter and engraver Émile Frédéric Nicolle, his grandfather, filled the house, and the family liked to play chess, read books, paint. Of Eugene and Lucie Duchamps seven children, one died as an infant, Marcel Duchamp was the brother of, Jacques Villon, painter, printmaker Raymond Duchamp-Villon, sculptor Suzanne Duchamp-Crotti, painter. At 8 years old, Duchamp followed in his brothers footsteps when he left home and began schooling at the Lycée Pierre-Corneille, two other students in his class also became well-known artists and lasting friends, Robert Antoine Pinchon and Pierre Dumont. For the next 8 years, he was locked into a regime which focused on intellectual development. Though he was not a student, his best subject was mathematics. He also won a prize for drawing in 1903, and at his commencement in 1904 he won a coveted first prize and he learned academic drawing from a teacher who unsuccessfully attempted to protect his students from Impressionism, Post-Impressionism, and other avant-garde influences. However, Duchamps true artistic mentor at the time was his brother Jacques Villon, whose fluid, at 14, his first serious art attempts were drawings and watercolors depicting his sister Suzanne in various poses and activities. That summer he painted landscapes in an Impressionist style using oils. Duchamps early art works align with Post-Impressionist styles and he experimented with classical techniques and subjects. He studied art at the Académie Julian from 1904 to 1905, during this time Duchamp drew and sold cartoons which reflected his ribald humor. Many of the drawings use verbal puns, visual puns, or both, such play with words and symbols engaged his imagination for the rest of his life. In 1905, he began his military service with the 39th Infantry Regiment. There he learned typography and printing processes—skills he would use in his later work, due to his eldest brother Jacques membership in the prestigious Académie royale de peinture et de sculpture Duchamps work was exhibited in the 1908 Salon dAutomne. The following year his work was featured in the Salon des Indépendants, of Duchamps pieces in the show, critic Guillaume Apollinaire—who was to become a friend—criticized what he called Duchamps very ugly nudes. The group came to be known as the Puteaux Group, or the Section dOr, uninterested in the Cubists seriousness or in their focus on visual matters, Duchamp did not join in discussions of Cubist theory, and gained a reputation of being shy
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Section d'Or
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The Section dOr, also known as Groupe de Puteaux, was a collective of painters, sculptors, poets and critics associated with Cubism and Orphism. Based in the Parisian suburbs, the group held meetings at the home of the Duchamp brothers in Puteaux. Active from 1911 to around 1914, members of the came to prominence in the wake of their controversial showing at the Salon des Indépendants in the spring of 1911. The Salon de la Section dOr, held October 1912—the largest and most important public showing of Cubist works prior to World War I—exposed Cubism to an audience still. After the war, with support given by the dealer Léonce Rosenberg, the Puteaux Group organized their first exhibition under the name Salon de la Section dOr at the Galerie La Boétie in Paris, October 1912. Following the 1911 Salon exhibitions the group formed by Le Fauconnier, Metzinger, Gleizes, Léger, francis Picabia was introduced to the circle, perhaps by Guillaume Apollinaire with whom he had recently become friendly. Most importantly was the contact established with Metzinger and the Duchamp brothers, the opening address was given by Apollinaire. The 1912 Salon de la Section dOr was arguably the most important pre-World War I Cubist exhibition, in the previous year the Cubists and a large number of their associates had exhibited at the Galerie de lArt Contemporain under the auspices of the Société Normande de Peinture Moderne. This exhibition had received attention in the press, though due to the diversity of the works presented it had been referred to as an exposition des fauves et cubistes. The Salon de la Section dOr, however, was accepted as being entirely Cubist in nature. Over 200 works were displayed, and the fact many of the artists showed artworks representative of their development from 1909 to 1912 gave the exhibition the allure of a Cubist retrospective. The inauguration was held from nine until midnight, for which the precedent was the opening of the 1903 Salon dAutomne. Invitations were widely diffused prior to the show, and many of the guests had to be turned away on opening night. Undoubtedly, due to the success of the exhibition, Cubism became recognized as a tendency, genre or style in art with a specific common philosophy or goal. The idea of the Section dOr originated in the course of conversations between Gleizes, Metzinger and Jacques Villon, the groups title was suggested by Villon, after reading a 1910 translation of Leonardo da Vincis Trattato della Pittura by Joséphin Péladan. Peladan attached great significance to the golden section, and other similar geometric configurations. For Villon, this symbolized his belief in order and the significance of mathematical proportions, because it reflected patterns, jean Metzinger and the Duchamp brothers were passionately interested in mathematics. The name La Section dOr represented simultaneously a continuity with past traditions and current trends in related fields, the Section dOr group founded by some of the most prominent Cubists was in effect an homage to Georges Seurat
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Abstract art
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Abstract art uses a visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world. Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective, the arts of cultures other than the European had become accessible and showed alternative ways of describing visual experience to the artist. By the end of the 19th century many artists felt a need to create a new kind of art which would encompass the fundamental changes taking place in technology, science and philosophy. The sources from which individual artists drew their theoretical arguments were diverse, Abstract art, non-figurative art, non-objective art, and nonrepresentational art are loosely related terms. They are similar, but perhaps not of identical meaning, Abstraction indicates a departure from reality in depiction of imagery in art. This departure from accurate representation can be slight, partial, or complete, even art that aims for verisimilitude of the highest degree can be said to be abstract, at least theoretically, since perfect representation is likely to be exceedingly elusive. Artwork which takes liberties, altering for instance color and form in ways that are conspicuous, total abstraction bears no trace of any reference to anything recognizable. In geometric abstraction, for instance, one is unlikely to find references to naturalistic entities, Figurative art and total abstraction are almost mutually exclusive. But figurative and representational art often contains partial abstraction, both geometric abstraction and lyrical abstraction are often totally abstract. It is at level of visual meaning that abstract art communicates. One can enjoy the beauty of Chinese calligraphy or Islamic calligraphy without being able to read it, in Chinese painting, abstraction can be traced to the Tang dynasty painter Wang Mo, who is credited to have invented the splashed-ink painting style. While none of his paintings remain, this style is seen in some Song Dynasty Paintings. A late Song painter named Yu Jian, adept to Tiantai buddhism and his paintings show heavily misty mountains in which the shapes of the objects are barely visible and extremely simplified. This type of painting was continued by Sesshu Toyo in his later years, another instance of abstraction in Chinese painting is seen in Zhu Deruns Cosmic Circle. The painting is a reflection of the Daoist metaphysics in which chaos, in Tokugawa Japan some zen monk-painters created Enso, a circle who represents the absolute enlightenment. Usually made in one spontaneous brush stroke, it became the paradigm of the minimalist aesthetic that guided part of the zen painting, three art movements which contributed to the development of abstract art were Romanticism, Impressionism and Expressionism. Artistic independence for artists was advanced during the 19th century, patronage from the church diminished and private patronage from the public became more capable of providing a livelihood for artists. Expressionist painters explored the use of paint surface, drawing distortions and exaggerations
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Primary color
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A set of primary colors is a small, arbitrary set of pigmented physical media, lights or purely abstract elements of a mathematical colorspace model. Distinct colors from a larger gamut can be specified in terms of a mixture of colors which facilitates technological applications such as painting, electronic displays. Any small set of pigments or lights are imperfect physical primary colors in that they cannot be mixed to yield all possible colors that can be perceived by the color vision system. In an additive set of colors, as in coincident projected lights or in electronic visual displays, in a subtractive set of colors, as in mixing of pigments or dyes for printing, the colors magenta, yellow and cyan are normally used. See RGB color model, and CMYK color model for more on these sets of primary colors. Primary colors are not a property of light but are related to the color vision system in animals. The human eye normally contains three types of color photoreceptors that are associated with specialized cone cells. Each photoreceptor responds to different ranges of the electromagnetic spectrum. Humans and other species with three types of color photoreceptor are known as trichromats. Color appearance models like CIECAM02 describe color more generally in six dimensions, most placental mammals other than primates have only two types of color photoreceptor and are therefore dichromats while birds and marsupials are tetrachromats with four color photoreceptor types. There is no peer reviewed scholarly work that has confirmed the existence of a functional human tetrachromat though they are suspected to exist. Demonstrating improved spectral discrimination in any animal can be difficult since complex sets of neurons affect color perception in ways that are difficult to interrogate. Before the nature of colorimetry and visual physiology were well understood a number of color models assigned primary colors to different hues. Young originally proposed red, green and violet, and Maxwell changed violet to blue, Helmholtz proposed a slightly red, a vegetation-green, slightly yellowish. In modern understanding, human cells do not correspond precisely to a specific set of primary colors. There are hundreds of available pigments for visual artists to use. A common approach is to use just a palette of pigments that can be physically mixed to any color that the artist desires in the final work. Contemporary classical realists have often advocated that a palette of white, red, yellow
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Collage
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Collage is a technique of an art production, primarily used in the visual arts, where the artwork is made from an assemblage of different forms, thus creating a new whole. The origins of collage can be traced back hundreds of years, the term collage was coined by both Georges Braque and Pablo Picasso in the beginning of the 20th century when collage became a distinctive part of modern art. Techniques of collage were first used at the time of the invention of paper in China, around 200 BC. The use of collage, however, wasnt used by many people until the 10th century in Japan, when began to apply glued paper, using texts on surfaces. The technique of collage appeared in medieval Europe during the 13th century, gold leaf panels started to be applied in Gothic cathedrals around the 15th and 16th centuries. Gemstones and other metals were applied to religious images, icons. An 18th-century example of art can be found in the work of Mary Delany. In the 19th century, collage methods also were used among hobbyists for memorabilia, the exhibition later traveled to The Metropolitan Museum of Art and The Art Gallery of Ontario. For example, the Tate Gallerys online art glossary states that collage was first used as a technique in the twentieth century. The glued-on patches which Braque and Picasso added to their canvases offered a new perspective on painting when the patches collided with the plane of the painting. Collage in the modernist sense began with Cubist painters Georges Braque, according to some sources, Picasso was the first to use the collage technique in oil paintings. According to the Guggenheim Museums online article about collage, Braque took up the concept of collage itself before Picasso, applying it to charcoal drawings. Picasso adopted collage immediately after, It was Braque who purchased a roll of simulated oak-grain wallpaper and began cutting out pieces of the paper, Picasso immediately began to make his own experiments in the new medium. In 1912 for his Still Life with Chair Caning, Picasso pasted a patch of oilcloth with a design onto the canvas of the piece. Surrealist artists have made use of collage. Cubomania is a made by cutting an image into squares which are then reassembled automatically or at random. Collages produced using a similar, or perhaps identical, method are called etrécissements by Marcel Mariën from a method first explored by Mariën, surrealist games such as parallel collage use collective techniques of collage making. Many of these artists used techniques in their work
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Georges Braque
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Georges Braque was a major 20th-century French painter, collagist, draughtsman, printmaker and sculptor. His most important contributions to the history of art were in his alliance with Fauvism from 1906, braque’s work between 1908 and 1912 is closely associated with that of his colleague Pablo Picasso. Their respective Cubist works were indistinguishable for many years, yet the quiet nature of Braque was partially eclipsed by the fame, georges Braque was born on 13 May 1882 in Argenteuil, Val-dOise. He grew up in Le Havre and trained to be a house painter, however, he also studied artistic painting during evenings at the École des Beaux-Arts, in Le Havre, from about 1897 to 1899. In Paris, he apprenticed with a decorator and was awarded his certificate in 1902, the next year, he attended the Académie Humbert, also in Paris, and painted there until 1904. It was here that he met Marie Laurencin and Francis Picabia, Braques earliest works were impressionistic, but after seeing the work exhibited by the artistic group known as the Fauves in 1905, he adopted a Fauvist style. The Fauves, a group that included Henri Matisse and André Derain among others, Braque worked most closely with the artists Raoul Dufy and Othon Friesz, who shared Braques hometown of Le Havre, to develop a somewhat more subdued Fauvist style. In 1906, Braque traveled with Friesz to LEstaque, to Antwerp, in May 1907, he successfully exhibited works of the Fauve style in the Salon des Indépendants. The 1907 Cézanne retrospective at the Salon dAutomne greatly affected the artists of Paris. Braques paintings of 1908–1912 reflected his new interest in geometry and simultaneous perspective and he showed this in the painting Houses at lEstaque. Beginning in 1909, Braque began to work closely with Pablo Picasso who had been developing a similar proto-Cubist style of painting. At the time, Pablo Picasso was influenced by Gauguin, Cézanne, African masks, Picasso celebrates animation, while Braque celebrates contemplation. Thus, the invention of Cubism was a joint effort between Picasso and Braque, then residents of Montmartre, Paris and these artists were the styles main innovators. After meeting in October or November 1907, Braque and Picasso, in particular, both artists produced paintings of monochromatic color and complex patterns of faceted form, now termed Analytic Cubism. In 1912, they began to experiment with collage and Braque invented the papier collé technique, French art critic Louis Vauxcelles used the terms bizarre cubiques in 1908 after seeing a picture by Braque. He described it as full of little cubes, the term Cubism, first pronounced in 1911 with reference to artists exhibiting at the Salon des Indépendants, quickly gained wide use but Picasso and Braque did not adopt it initially. Art historian Ernst Gombrich described Cubism as the most radical attempt to stamp out ambiguity and to one reading of the picture—that of a man-made construction. The Cubist style spread quickly throughout Paris and then Europe, the two artists productive collaboration continued and they worked closely together until the beginning of World War I in 1914, when Braque enlisted with the French Army
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Pablo Picasso
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Pablo Ruiz y Picasso, also known as Pablo Picasso, was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Picasso demonstrated extraordinary artistic talent in his years, painting in a naturalistic manner through his childhood. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, Picassos work is often categorized into periods. Much of Picassos work of the late 1910s and early 1920s is in a neoclassical style and his later work often combines elements of his earlier styles. Ruiz y Picasso were included for his father and mother, respectively, born in the city of Málaga in the Andalusian region of Spain, he was the first child of Don José Ruiz y Blasco and María Picasso y López. His mother was of one quarter Italian descent, from the territory of Genoa, though baptized a Catholic, Picasso would later on become an atheist. Picassos family was of middle-class background and his father was a painter who specialized in naturalistic depictions of birds and other game. For most of his life Ruiz was a professor of art at the School of Crafts, Picasso showed a passion and a skill for drawing from an early age. According to his mother, his first words were piz, piz, a shortening of lápiz, from the age of seven, Picasso received formal artistic training from his father in figure drawing and oil painting. Ruiz was an academic artist and instructor, who believed that proper training required disciplined copying of the masters. His son became preoccupied with art to the detriment of his classwork, the family moved to A Coruña in 1891, where his father became a professor at the School of Fine Arts. On one occasion, the father found his son painting over his sketch of a pigeon. In 1895, Picasso was traumatized when his sister, Conchita. After her death, the moved to Barcelona, where Ruiz took a position at its School of Fine Arts. Picasso thrived in the city, regarding it in times of sadness or nostalgia as his true home, Ruiz persuaded the officials at the academy to allow his son to take an entrance exam for the advanced class. This process often took students a month, but Picasso completed it in a week, the student lacked discipline but made friendships that would affect him in later life. His father rented a room for him close to home so he could work alone, yet he checked up on him numerous times a day. Picassos father and uncle decided to send the young artist to Madrids Real Academia de Bellas Artes de San Fernando, at age 16, Picasso set off for the first time on his own, but he disliked formal instruction and stopped attending classes soon after enrolment
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Kunstsammlung Nordrhein-Westfalen
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The Kunstsammlung Nordrhein-Westfalen is the art collection of the German Federal State of North Rhine-Westphalia, located in Düsseldorf. United by this institution are three different exhibition venues, the K20 at Grabbeplatz, the K21 in the Ständehaus and the Schmela Haus, during its 50-year history, the Kunstsammlung Nordrhein-Westfalen has earned an international reputation as a museum for the art of the 20th century. For some time now, however, the spectrum of the collection - which was initiated through the purchase of works by Paul Klee - has extended up to the immediate present. The building at Grabbeplatz, with its black granite façade, was inaugurated in 1986. An extension building was completed in 2010, among the highlights on view there are a number of artist’s rooms and large-scale installations, a special focus of this portion of the collection. The Schmela Haus, located in Düsseldorf’s historic district, joined the Kunstsammlung in 2009 as a rehearsal stage, since spring of 2011, the Schmela Haus is also used again for exhibitions. As an institution with three locations, the Kunstsammlung has more than 10,000 m² of exhibition surface at its disposal, with its accompanying programs and special projects, the Education Department strives to make the works held in the Regional Collection accessible to visitors of all ages. Available for this purpose are a number of studios, a workshop. The history of the Kunstsammlung Nordrhein-Westfalen begins in 1960 with the purchase of 88 works by Paul Klee from the collection of Pittsburgh steel manufacturer G. David Thompson, between 1962 and his retirement in 1990, Werner Schmalenbach served as the first director of the newly founded collection. He assembled an extraordinarily high-quality collection of classical modernist artworks, thereby creating the only collection in Germany specializing in modern art. To begin with, the collection was housed in Jägerhof Palace, soon after it opened, space limitations prompted plans for a new building. Announced in 1975 was a competition for its design, the proposal was submitted by the Danish architectural office of Dissing+Weitling. With its curved façade of polished, natural stone, the building gives Grabbeplatz its special character. It sits on the square directly across from the Kunsthalle Düsseldorf, in 1990, Schmalenbach was succeeded as Director by Armin Zweite, formerly head of the Städtische Galerie im Lenbachhaus in Munich. On 1 September 2009, Marion Ackermann - former director of the Kunstmuseum Stuttgart - assumed artistic directorship of the Kunstsammlung Nordrhein-Westfalen and she has taken a dynamic approach to the collection, and seeks to relate contemporary art and classic modern to one another more closely. Together with Hagen Lippe-Weißenfeld, who joined the team on 1 November 2008 as Director of Finance and Business Affairs, available now for the collection and for temporary exhibitions is a generous surface area.000 m². During the first two weeks after the reopening alone, nearly 60,000 visitors took advantage of free admission to the Kunstsammlung, the museum welcomed its 100, 000th visitor on 21 October 2010. With its length of 27 meters, it has become attractive landmark on the newly created Paul Klee Platz along the rear façade of the K20, featured on a regular basis in the venues of the Kunstsammlung Nordrhein-Westfalen alongside presentations of the permanent collection are internationally acclaimed temporary exhibitions
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French Army
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The French Army, officially the Land Army is the land-based and largest component of the French Armed Forces. Along with the French Air Force, the French Navy and the National Gendarmerie, the current Chief of Staff of the French Army is General Jean-Pierre Bosser, a direct subordinate of the Chief of the Defence Staff. All soldiers are considered professionals following the suspension of conscription, voted in parliament in 1997, as of 2014, the French Army employed 111,628 personnel. In addition, the element of the French Army consisted of 15,453 personnel of the Operational Reserve. The Kings of France needed reliable troops during and after the Hundred Years War and these units of troops were raised by issuing ordonnances to govern their length of service, composition and payment. These Compagnies dordonnance formed the core of the Gendarme Cavalry into the sixteenth century, stationed throughout France and summoned into larger armies as needed. There was also made for Francs-archers units of bowmen and foot soldiers raised from the non-noble classes. The bulk of the infantry for warfare was still provided by urban or provincial militias, raised from an area or city to fight locally and named for their recruiting grounds. Gradually these units became more permanent, and in 1480s Swiss instructors were recruited and these men would be paid and contracted and receive training. Henry II further regularised the French army by forming standing Infantry regiments to replace the Militia structure, the first of these the Régiments de Picardie, Piémont, Navarre and Champagne were called the Les Vieux Corps. It was normal policy to disband regiments after a war was over as a cost saving measure with the Vieux Corps and the Kings own Household Troops the Maison du Roi being the only survivors. Regiments could be raised directly by the King and so called after the region in which they were raised, or by the nobility and so called after the noble or his appointed colonel. In 1684 there was a reorganisation of the French infantry and again in 1701 to fit in with Louis XIVs plans. This reshuffle created many of the regiments of the French Army and standardised their equipment. The army of the Sun King tended to wear coats with coloured linings. There were exceptions and the troops, recruited from outside France. In addition to these regiments of the line the Maison du Roi provided several elite units, the Swiss Guards, French Guards, the revolution split the army with the main mass losing most of its officers to aristocratic flight or guillotine and becoming demoralised and ineffective. The French Guard joined the revolt and the Swiss Guards were massacred during the storming of the Tuileries palace, under Napoleon I, the French Army conquered most of Europe during the Napoleonic Wars
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Forest of Argonne
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The Forest of Argonne is a long strip of rocky mountain and wild woodland in north-eastern France. In 1792 Charles François Dumouriez outmaneuvered the invading forces of the Duke of Brunswick in the forest before the Battle of Valmy, during World War I, the forest was again the site of intense military action. Bitter fighting between German and Allied units took place here in autumn and winter 1914, summer 1915, during the Meuse-Argonne Offensive, several United States Army soldiers earned the Medal of Honor there, including Colonel Nelson Miles Holderman, Major Charles White Whittlesey, Sergeant Alvin C. York - most of part of the Lost Battalion. The World War I Montfaucon American Monument consists of a large granite Doric column, the monument is located twenty miles northwest of Verdun. It is not far from the Meuse-Argonne American Cemetery and Memorial, arboretum du Petit-Bois Meuse-Argonne offensive Argonnerwaldlied Militarymuseum. com This article incorporates text from a publication now in the public domain, Wood, James, ed. article name needed. London and New York, Frederick Warne
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Sulfur mustard
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Sulfur mustard, commonly known as mustard gas, is a cytotoxic and vesicant chemical warfare agent with the ability to form large blisters on exposed skin and in the lungs. Related chemical compounds with chemical structure and similar properties form a class of compounds known collectively as sulfur mustards or mustard agents. Pure sulfur mustards are colorless, viscous liquids at room temperature, when used in impure form, such as warfare agents, they are usually yellow-brown in color and have an odor resembling mustard plants, garlic, or horseradish, hence the name. Sulfur mustard was originally assigned the name LOST, after the scientists Wilhelm Lommel and Wilhelm Steinkopf, Mustard agents are regulated under the 1993 Chemical Weapons Convention. Three classes of chemicals are monitored under this Convention, with sulfur and nitrogen mustard grouped in Schedule 1, Mustard agents could be deployed on the battlefield by means of artillery shells, aerial bombs, rockets, or by spraying from warplanes. Sulfur mustard is the compound with formula 2S. Sulfur mustard is a liquid at normal temperatures. The pure compound has a point of 14 °C and decomposes before boiling at 218 °C. The compound readily eliminates a chloride ion by intramolecular nucleophilic substitution to form a cyclic sulfonium ion, oxidative stress would be another pathology involved in sulfur mustard toxicity. Sulfur mustard is not very soluble in water but is soluble in fat. In the wider sense, compounds with the structural element BCH2CH2X, where X is any leaving group, such compounds can form cyclic onium ions that are good alkylating agents. Examples are bisether, the amines, and sulfur sesquimustard, which has two α-chloroethyl thioether groups connected by an ethylene group and these compounds have a similar ability to alkylate DNA, but their physical properties, e. g. melting points, may vary. Mustard agent has extremely powerful vesicant effects on its victims, in addition, it is strongly mutagenic and carcinogenic, due to its alkylating properties. Because people exposed to mustard agent rarely suffer immediate symptoms, and mustard-contaminated areas may appear completely normal and these are chemical burns and are very debilitating. Mustard agent vapor easily penetrates clothing fabrics such as wool or cotton, if the victims eyes were exposed then they become sore, starting with conjunctivitis, after which the eyelids swell, resulting in temporary blindness. In rare cases of extreme exposure to sulfur mustard vapors, corneal ulceration, anterior chamber scarring. In these severe and infrequent cases, corneal transplantation has been used as a treatment option, miosis may also occur, which is probably the result from the cholinomimetic activity of mustard. At very high concentrations, if inhaled, mustard agent causes bleeding and blistering within the system, damaging mucous membranes
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