1.
Art Institute of Chicago
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The Art Institute of Chicago, founded in 1879 and located in Chicagos Grant Park, is one of the oldest and largest art museums in the United States. Recognized for its efforts and popularity among visitors, the museum hosts approximately 1.5 million guests annually. The growth of the collection has warranted several additions to the museums original 1893 building, the Art Institute is connected to the School of the Art Institute of Chicago, a leading art school, making it one of the few remaining unified arts institutions in the United States. In 1866, a group of 35 artists founded the Chicago Academy of Design in a studio on Dearborn Street, the organization was modeled after European art academies, such as the Royal Academy, with Academicians and Associate Academicians. The Academys charter was granted in March 1867, classes started in 1868, meeting every day at a cost of $10 per month. The Academys success enabled it to build a new home for the school, a stone building on 66 West Adams Street. When the Great Chicago Fire destroyed the building in 1871 the Academy was thrown into debt, attempts to continue despite the loss by using rented facilities failed. By 1878 the Academy was $10,000 in debt, members tried to rescue the ailing institution by making deals with local businessmen, before some finally abandoned it in 1879 to found a new organization, named the Chicago Academy of Fine Arts. When the Chicago Academy of Design went bankrupt the same year, in 1882, the Chicago Academy of Fine Arts changed its name to the current Art Institute of Chicago and elected as its first president the banker and philanthropist Charles L. Also in 1882, the purchased a lot on the southwest corner of Michigan Avenue. By January 1885 the trustees recognized the need to provide space for the organizations growing collection. The city agreed, and the building was completed in time for the year of the fair. Construction costs were met by selling the Michigan/Van Buren property, on October 31,1893 the Institute moved into the new building. For the opening reception on December 8,1893, Theodore Thomas, from the 1900s to the 1960s the school offered with the Logan Family the Logan Medal of the Arts, an award which became one of the most distinguished awards presented to artists in the US. Between 1959 and 1970 the Institute was a key site in the battle to gain art and documentary photography a place in galleries, under curator Hugh Edwards and his assistants. As Director of the museum starting in the early 1980s, James N. Wood conducted an expansion of its collection. He retired from the museum in 2004, in 2006, the Art Institute began construction of The Modern Wing, an addition situated on the southwest corner of Columbus and Monroe. The project, designed by Pritzker Prize winning architect Renzo Piano, was completed, the 264, 000-square-foot building makes the Art Institute the second-largest art museum in the United States
2.
Montpellier
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Montpellier is a city in southern France. It is the capital of the Hérault department, Montpellier is the 8th largest city of France, and is also the fastest growing city in the country over the past 25 years. Nearly one third of the population are students from three universities and from three higher education institutions that are outside the university framework in the city. Located on the south coast of France on the Mediterranean Sea, it is the third-largest French city on the Mediterranean coast after Marseille and Nice. Montpellier is one of the few cities in France without any Roman heritage. In the Early Middle Ages, the episcopal town of Maguelone was the major settlement in the area. Montpellier, first mentioned in a document of 985, was founded under a feudal dynasty, the Guilhem. The two surviving towers of the city walls, the Tour des Pins and the Tour de la Babotte, were built later, william VIII of Montpellier gave freedom for all to teach medicine in Montpellier in 1180. This era marked the point of Montpelliers prominence. The city became a possession of the Kings of Aragon in 1204 by the marriage of Peter II of Aragon with Marie of Montpellier, who was given the city and its dependencies as part of her dowry. Montpellier gained a charter in 1204 when Peter and Marie confirmed the traditional freedoms. Under the Kings of Aragon, Montpellier became an important city, a major economic centre. It was the second or third most important city of France at that time, with its importance steadily increasing, the city finally gained a bishop, who moved from Maguelone in 1536, and the huge monastery chapel became a cathedral. In 1432, Jacques Cœur established himself in the city and it became an important economic centre, at the time of the Reformation in the 16th century, many of the inhabitants of Montpellier became Protestants and the city became a stronghold of Protestant resistance to the Catholic French crown. In 1622, King Louis XIII besieged the city surrendered after a two months siege, afterwards building the Citadel of Montpellier to secure it. Louis XIV made Montpellier capital of Bas Languedoc, and the town started to embellish itself, by building the Promenade du Peyrou, the Esplanade, after the French Revolution, the city became the capital of the much smaller Hérault. During the 19th century the city developed into an industrial centre, in the 1960s, its population grew dramatically after French settlers in Algeria were resettled in the city following Algerias independence from France. In the 1980s and 1990s, the city drew attention with a number of redevelopment projects, such as the Corum
3.
Languedoc-Roussillon
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Languedoc-Roussillon is a former administrative region of France. Since 1 January 2016, it is part of the new region Occitanie and it is the southernmost region of mainland France. The region is made up of the historical provinces,68. The former province of Languedoc also extends over what is now the Midi-Pyrénées region,17. 9% of Languedoc-Roussillon was formerly the province of Gévaudan, now the department of Lozère. A small part of the former Gévaudan lies inside the current Auvergne region, Gévaudan is often considered to be a sub-province inside the province of Languedoc, in which case Languedoc would account for 86. 6% of Languedoc-Roussillon. These pays were part of the Ancien Régime province of Roussillon, owning its name to the largest and most populous of the five pays, llívia is a town of Cerdanya, province of Girona, Catalonia, Spain, that forms a Spanish exclave surrounded by French territory. At the regional elections in March 2004, the socialist mayor of Montpellier Georges Frêche, since then, Georges Frêche has embarked on a complete overhaul of the region and its institutions. Georges Frêche also wanted to change the name of the region, wishing to erase its duality, thus, he wanted to rename the region Septimanie. This name, however, has not been in use since the 9th century, strong opposition of the population led to Georges Frêche giving up on his idea. He declared that he believed in it but could not go ahead without a mandate. This idea has minimal popular support, on the other hand, there are some who would like to merge the Languedoc-Roussillon and Midi-Pyrénées regions, thus reunifying the old province of Languedoc, and creating a large region. Prior to the 20th century, Occitan was the language spoken in Languedoc, both have been under pressure from French. In 2004, research conducted by the Government of Catalonia showed that 65% of adults over the age of 15 in Roussilon could understand Catalan whereas 37% stated they were able to speak it. In recent years there have been attempts at reviving of both languages, including Catalan-medium schooling through the La Bressola schools, Occitan literature — still sometimes called Provençal literature — is a body of texts written in Occitan in what is nowadays the South of France. It originated in the poetry of the eleventh- and twelfth- century troubadours, aimeric de Peguilhan, Giraut de Bornelh and Bertran de Born were major influences in troubadour composition, in the High Middle Ages. The troubadour tradition is considered to have originated in the region, the Romantic music composer Déodat de Séverac was born in the region, and, following his schooling in Paris, returned to the region to compose. He sought to incorporate the music indigenous to the area in his compositions, grapevines are said to have existed in the South of France since the Pliocene period - before the existence of Homo sapiens. The first vineyards of Gaul developed around two towns, Béziers and Narbonne, several entrepreneurs such as Robert Skalli and James Herrick drastically changed the face of the region, planting more commercially viable grape varieties and pushing for new AOC classifications
4.
Beaune-la-Rolande
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Beaune-la-Rolande is a commune in the Loiret department in north-central France. On 28 November 1870 it was the site of a battle during the Franco-Prussian War, during World War II, it was the site of the Nazi Beaune-la-Rolande internment camp for Jews. Polish artist Zber was imprisoned there from 1941 to 1942, communes of the Loiret department INSEE statistics
5.
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
6.
France
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France, officially the French Republic, is a country with territory in western Europe and several overseas regions and territories. The European, or metropolitan, area of France extends from the Mediterranean Sea to the English Channel and the North Sea, Overseas France include French Guiana on the South American continent and several island territories in the Atlantic, Pacific and Indian oceans. France spans 643,801 square kilometres and had a population of almost 67 million people as of January 2017. It is a unitary republic with the capital in Paris. Other major urban centres include Marseille, Lyon, Lille, Nice, Toulouse, during the Iron Age, what is now metropolitan France was inhabited by the Gauls, a Celtic people. The area was annexed in 51 BC by Rome, which held Gaul until 486, France emerged as a major European power in the Late Middle Ages, with its victory in the Hundred Years War strengthening state-building and political centralisation. During the Renaissance, French culture flourished and a colonial empire was established. The 16th century was dominated by civil wars between Catholics and Protestants. France became Europes dominant cultural, political, and military power under Louis XIV, in the 19th century Napoleon took power and established the First French Empire, whose subsequent Napoleonic Wars shaped the course of continental Europe. Following the collapse of the Empire, France endured a succession of governments culminating with the establishment of the French Third Republic in 1870. Following liberation in 1944, a Fourth Republic was established and later dissolved in the course of the Algerian War, the Fifth Republic, led by Charles de Gaulle, was formed in 1958 and remains to this day. Algeria and nearly all the colonies became independent in the 1960s with minimal controversy and typically retained close economic. France has long been a centre of art, science. It hosts Europes fourth-largest number of cultural UNESCO World Heritage Sites and receives around 83 million foreign tourists annually, France is a developed country with the worlds sixth-largest economy by nominal GDP and ninth-largest by purchasing power parity. In terms of household wealth, it ranks fourth in the world. France performs well in international rankings of education, health care, life expectancy, France remains a great power in the world, being one of the five permanent members of the United Nations Security Council with the power to veto and an official nuclear-weapon state. It is a member state of the European Union and the Eurozone. It is also a member of the Group of 7, North Atlantic Treaty Organization, Organisation for Economic Co-operation and Development, the World Trade Organization, originally applied to the whole Frankish Empire, the name France comes from the Latin Francia, or country of the Franks
7.
Figure painting
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A figure painting is a work of fine art in any of the painting media with the primary subject being the human figure, whether clothed or nude. Figure painting may refer to the activity of creating such a work. The human figure has been one of the constant subjects of art since the first stone age cave paintings, unlike figure drawings which are usually nudes, figure paintings are often historical, mythological, allegorical or imaginary depictions that may have figures in appropriate costumes. A portrait painting is a painting that focuses on the creation of a likeness of a particular individual or group. The nude has been a theme in Western art since antiquity and again in the Renaissance. Oil paint historically has been the ideal media for depicting the figure, by blending and layering paint, the surface can become more like skin. Its slow drying time and various degrees of viscosity enable the artist to achieve rich and subtle blends of color and texture, figure painting is not synonymous with figurative art, which may depict real objects of any kind. The Nude, A Study in Ideal Form, venus in Exile, The Rejection of Beauty in Twentieth-century Art. Nudity and Classical Themes in Byzantine Art, In Heilbrunn Timeline of Art History, new York, The Metropolitan Museum of Art. Jenny Saville at Gagosian Gallery Jenny Saville at Saatchi Gallery Francis Bacon Lucien Freud Leopold Museum, Austria -Nude Men Museum of Fine Arts, Boston - Degas and the Nude
8.
En plein air
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En plein air, or plein air painting, is a phrase borrowed from the French equivalent meaning open air. It is particularly used to describe the act of painting outdoors, also called French, peinture sur le motif and this method contrasts with studio painting or academic rules, those might create a predetermined look. En plein air can also be used to other activities where a person partakes in an outdoor environment. Artists have long painted outdoors, but in the century, working in natural light became particularly important to the Barbizon school, Hudson River School. The Newlyn School in England is considered another major proponent of the technique in the latter 19th century, the popularity of painting en plein air increased in the 1840s with the introduction of paints in tubes. Previously, painters made their own paints by grinding and mixing dry pigment powders with linseed oil, the act of outdoor painting from observation has been continually popular well into the 21st century. It was during the century that the box easel, typically known as the French box easel or field easel, was invented. It is uncertain who developed it, but these highly portable easels with telescopic legs and built-in paint box and palette made it easier to go into the forest and up the hillsides. Still made today, they remain a popular choice since they fold up to the size of a brief case and thus are easy to store. The Pochade Box is a box that allows the artist to keep all of their supplies. Some designs allow for a canvas which can be held by clamps built into the lid. There are designs which can hold a few wet painting canvases or panels within the lid. These boxes have a rising popularity as while they are used for plein air painting, can also be used in the studio, home. Since pochade boxes are used for painting on location, the canvas or work surface may be small. Challenges include the type of paint used to paint outdoors, animals, bugs, onlookers, acrylic paint may harden and dry quickly in warm, sunny weather and it cannot be reused. On the opposite side of the spectrum is the challenge of painting in moist or damp conditions with precipitation, the advent of plein air painting predated the invention of acrylics. The traditional and well-established method of painting en plein air incorporates the use of oil paint, but enthusiasts of plein air painting were not limited to the Old World. American impressionists too, such as those of the Old Lyme school, were avid painters en plein air, american impressionist painters noted for this style during this era included Guy Rose, Robert William Wood, Mary DeNeale Morgan, John Gamble, and Arthur Hill Gilbert
9.
Paris
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Paris is the capital and most populous city of France. It has an area of 105 square kilometres and a population of 2,229,621 in 2013 within its administrative limits, the agglomeration has grown well beyond the citys administrative limits. By the 17th century, Paris was one of Europes major centres of finance, commerce, fashion, science, and the arts, and it retains that position still today. The aire urbaine de Paris, a measure of area, spans most of the Île-de-France region and has a population of 12,405,426. It is therefore the second largest metropolitan area in the European Union after London, the Metropole of Grand Paris was created in 2016, combining the commune and its nearest suburbs into a single area for economic and environmental co-operation. Grand Paris covers 814 square kilometres and has a population of 7 million persons, the Paris Region had a GDP of €624 billion in 2012, accounting for 30.0 percent of the GDP of France and ranking it as one of the wealthiest regions in Europe. The city is also a rail, highway, and air-transport hub served by two international airports, Paris-Charles de Gaulle and Paris-Orly. Opened in 1900, the subway system, the Paris Métro. It is the second busiest metro system in Europe after Moscow Metro, notably, Paris Gare du Nord is the busiest railway station in the world outside of Japan, with 262 millions passengers in 2015. In 2015, Paris received 22.2 million visitors, making it one of the top tourist destinations. The association football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris, the 80, 000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros, Paris hosted the 1900 and 1924 Summer Olympics and is bidding to host the 2024 Summer Olympics. The name Paris is derived from its inhabitants, the Celtic Parisii tribe. Thus, though written the same, the name is not related to the Paris of Greek mythology. In the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps, since the late 19th century, Paris has also been known as Panam in French slang. Inhabitants are known in English as Parisians and in French as Parisiens and they are also pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the areas major north-south trade routes crossed the Seine on the île de la Cité, this place of land and water trade routes gradually became a town
10.
Pierre-Auguste Renoir
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Pierre-Auguste Renoir, commonly known as Auguste Renoir, was a French artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty and especially feminine sensuality, it has said that Renoir is the final representative of a tradition which runs directly from Rubens to Watteau. He was the father of actor Pierre Renoir, filmmaker Jean Renoir and he was the grandfather of the filmmaker Claude Renoir, son of Pierre. Pierre-Auguste Renoir was born in Limoges, Haute-Vienne, France, in 1841 and his father, Léonard Renoir, was a tailor of modest means, so in 1844, Renoirs family moved to Paris in search of more favorable prospects. The location of their home, in rue d’Argenteuil in central Paris, although the young Renoir had a natural proclivity for drawing, he exhibited a greater talent for singing. His talent was encouraged by his teacher, Charles Gounod, who was the choir-master at the Church of St Roch at the time. However, due to the financial circumstances, Renoir had to discontinue his music lessons. Although Renoir displayed a talent for his work, he tired of the subject matter. The owner of the factory recognized his apprentice’s talent and communicated this to Renoir’s family, following this, Renoir started taking lessons to prepare for entry into Ecole des Beaux Arts. When the porcelain factory adopted mechanical reproduction processes in 1858, Renoir was forced to other means to support his learning. Before he enrolled in art school, he also painted hangings for overseas missionaries, in 1862, he began studying art under Charles Gleyre in Paris. There he met Alfred Sisley, Frédéric Bazille, and Claude Monet, at times, during the 1860s, he did not have enough money to buy paint. Renoir had his first success at the Salon of 1868 with his painting Lise with a Parasol, although Renoir first started exhibiting paintings at the Paris Salon in 1864, recognition was slow in coming, partly as a result of the turmoil of the Franco-Prussian War. This loss of a favorite painting location resulted in a change of subjects. Renoir was inspired by the style and subject matter of modern painters Camille Pissarro. Although the critical response to the exhibition was largely unfavorable, Renoirs work was well received. That same year, two of his works were shown with Durand-Ruel in London, hoping to secure a livelihood by attracting portrait commissions, Renoir displayed mostly portraits at the second Impressionist exhibition in 1876. He contributed a diverse range of paintings the next year when the group presented its third exhibition, they included Dance at Le Moulin de la Galette
11.
Claude Monet
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Monets ambition of documenting the French countryside led him to adopt a method of painting the same scene many times in order to capture the changing of light and the passing of the seasons. From 1883 Monet lived in Giverny, where he purchased a house and property, Claude Monet was born on 14 November 1840 on the fifth floor of 45 rue Laffitte, in the 9th arrondissement of Paris. He was the son of Claude Adolphe Monet and Louise Justine Aubrée Monet. On 20 May 1841, he was baptized in the parish church, Notre-Dame-de-Lorette, as Oscar-Claude. Despite being baptized Catholic, Monet later became an atheist, in 1845, his family moved to Le Havre in Normandy. His father wanted him to go into the familys ship-chandling and grocery business and his mother was a singer, and supported Monets desire for a career in art. On 1 April 1851, Monet entered Le Havre secondary school of the arts, locals knew him well for his charcoal caricatures, which he would sell for ten to twenty francs. Monet also undertook his first drawing lessons from Jacques-François Ochard, a student of Jacques-Louis David. On the beaches of Normandy around 1856 he met fellow artist Eugène Boudin, Boudin taught Monet en plein air techniques for painting. Both received the influence of Johan Barthold Jongkind, on 28 January 1857, his mother died. At the age of sixteen, he left school and went to live with his widowed, childless aunt, when Monet traveled to Paris to visit the Louvre, he witnessed painters copying from the old masters. Having brought his paints and other tools with him, he would go and sit by a window. Monet was in Paris for several years and met other painters, including Édouard Manet and others who would become friends. After drawing a low number in March 1861, Monet was drafted into the First Regiment of African Light Cavalry in Algeria for a seven-year period of military service. His prosperous father could have purchased Monets exemption from conscription but declined to do so when his son refused to give up painting. While in Algeria Monet did only a few sketches of scenes, a single landscape. In a Le Temps interview of 1900 however he commented that the light, after about a year of garrison duty in Algiers, Monet contracted typhoid fever and briefly went absent without leave. Following convalescence, Monets aunt intervened to get him out of the army if he agreed to complete a course at an art school and it is possible that the Dutch painter Johan Barthold Jongkind, whom Monet knew, may have prompted his aunt on this matter
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Protestantism
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Protestantism is a form of Christianity which originated with the Reformation, a movement against what its followers considered to be errors in the Roman Catholic Church. It is one of the three divisions of Christendom, together with Roman Catholicism and Orthodoxy. The term derives from the letter of protestation from German Lutheran princes in 1529 against an edict of the Diet of Speyer condemning the teachings of Martin Luther as heretical. Although there were earlier breaks from or attempts to reform the Roman Catholic Church—notably by Peter Waldo, John Wycliffe, Protestants reject the notion of papal supremacy and deny the Roman Catholic doctrine of transubstantiation, but disagree among themselves regarding the real presence of Christ in the Eucharist. The Five solae summarize the reformers basic differences in theological beliefs, in the 16th century, Lutheranism spread from Germany into Denmark, Norway, Sweden, Finland, the Baltic states, and Iceland. Reformed churches were founded in Germany, Hungary, the Netherlands, Scotland, Switzerland and France by such reformers as John Calvin, Huldrych Zwingli, the political separation of the Church of England from Rome under King Henry VIII brought England and Wales into this broad Reformation movement. Protestants developed their own culture, which made major contributions in education, the humanities and sciences, the political and social order, the economy and the arts, some Protestant denominations do have a worldwide scope and distribution of membership, while others are confined to a single country. A majority of Protestants are members of a handful of families, Adventism, Anglicanism, Baptist churches, Reformed churches, Lutheranism, Methodism. Nondenominational, evangelical, charismatic, independent and other churches are on the rise, and constitute a significant part of Protestant Christianity. Six princes of the Holy Roman Empire and rulers of fourteen Imperial Free Cities, the edict reversed concessions made to the Lutherans with the approval of Holy Roman Emperor Charles V three years earlier. During the Reformation, the term was used outside of the German politics. The word evangelical, which refers to the gospel, was more widely used for those involved in the religious movement. Nowadays, this word is still preferred among some of the historical Protestant denominations in the Lutheran and Calvinist traditions in Europe, above all the term is used by Protestant bodies in the German-speaking area, such as the EKD. In continental Europe, an Evangelical is either a Lutheran or a Calvinist, the German word evangelisch means Protestant, and is different from the German evangelikal, which refers to churches shaped by Evangelicalism. The English word evangelical usually refers to Evangelical Protestant churches, and it traces its roots back to the Puritans in England, where Evangelicalism originated, and then was brought to the United States. Protestantism as a term is now used in contradistinction to the other major Christian traditions, i. e. Roman Catholicism. Initially, Protestant became a term to mean any adherent to the Reformation movement in Germany and was taken up by Lutherans. Even though Martin Luther himself insisted on Christian or Evangelical as the only acceptable names for individuals who professed Christ, French and Swiss Protestants preferred the word reformed, which became a popular, neutral and alternative name for Calvinists
13.
Alfred Sisley
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Alfred Sisley was an Impressionist landscape painter who was born and spent most of his life in France, but retained British citizenship. He was the most consistent of the Impressionists in his dedication to painting en plein air. He deviated into figure painting only rarely and, unlike Renoir and Pissarro, among his important works are a series of paintings of the River Thames, mostly around Hampton Court, executed in 1874, and landscapes depicting places in or near Moret-sur-Loing. Over the years Sisleys power of expression and colour intensity increased, Sisley was born in Paris to affluent British parents. His father, William Sisley, was in the silk business, in 1857 at the age of 18, Sisley was sent to London to study for a career in business, but he abandoned it after four years and returned to Paris in 1861. Together they would paint landscapes en plein air rather than in the studio and this approach, innovative at the time, resulted in paintings more colourful and more broadly painted than the public was accustomed to seeing. Consequently, Sisley and his friends initially had few opportunities to exhibit or sell their work and their works were usually rejected by the jury of the most important art exhibition in France, the annual Salon. During the 1860s, though, Sisley was in a financial position than some of his fellow artists. In 1866, Sisley began a relationship with Eugénie Lesouezec, a Breton living in Paris, the couple had two children, son Pierre and daughter Jeanne. At the time, Sisley lived not far from Avenue de Clichy and the Café Guerbois, in 1868, his paintings were accepted at the Salon, but the exhibition did not bring him financial or critical success, nor did subsequent exhibitions. In 1870 the Franco-Prussian War began, and as a result Sisleys fathers business failed, for the remainder of his life he would live in poverty, as his paintings did not rise significantly in monetary value until after his death. Occasionally, however, Sisley would be backed by patrons, the first of these occurred in 1874 after the first independent Impressionist exhibition. Here, as art historian Anne Poulet has said, the landscapes with their constantly changing atmosphere were perfectly attuned to his talents. Unlike Monet, he never sought the drama of the ocean or the brilliantly colored scenery of the Côte dAzur. In 1881 Sisley made a brief voyage to Britain. In 1897 Sisley and his partner visited Britain again, and were married in Cardiff Register Office on 5 August. They stayed at Penarth, where Sisley painted at least six oils of the sea, in mid-August they moved to the Osborne Hotel at Langland Bay on the Gower Peninsula, where he produced at least eleven oil paintings in and around Langland Bay and Rotherslade Bay. They returned to France in October and this was Sisleys last voyage to his ancestral homeland
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Charles Gleyre
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Marc Gabriel Charles Gleyre, was a Swiss artist, resident in France from an early age. Gleyre was born in Chevilly, near Lausanne and his parents died when he was eight or nine years old, and he was brought up by an uncle in Lyon, France, who sent him to the citys industrial school. He began his artistic education in Lyon under Bonnefond, before moving to Paris. He also attended the Academie Suisse and studied watercolour technique in the studio of Richard Parkes Bonington and he then went to Italy, where he became acquainted with Horace Vernet and Louis Léopold Robert. They left Italy in spring 1834 and visited Greece, Turkey and Egypt, where they remained together until November 1835, Gleyre continued his travels around Egypt and Syria, not returning to France until 1838. He returned to Lyons in shattered health, having been attacked with ophthalmia, or inflammation of the eye, in Cairo, after 1845, when he exhibited the Separation of the Apostles, he contributed nothing to the Salon except the Dance of the Bacchantes in 1849. Yet he worked steadily and was productive and he had an infinite capacity of taking pains, and when asked by what method he attained to such marvelous perfection of workmanship, he would reply, En y pensant toujours. Many years often intervened between the first conception of a piece and its embodiment, and years not infrequently between the first and the stage of the embodiment itself. A landscape was finished, even his fellow artists would consider it done. Gleyre became influential as a teacher, taking over the studio of studio of Paul Delaroche – then the leading private teaching atelier in Paris – in 1843. His students included Jean-Léon Gérôme, Jean-Louis Hamon, Auguste Toulmouche, Whistler and several of the Impressionists, Monet, Renoir, Sisley and he did not charge his students a fee, although he expected them to contribute towards the rent and the payment of models. They were also given a say in the running of the school, though he lived in almost complete retirement from public life, he took a keen interest in politics, and was a voracious reader of political journals. For a time, under Louis Philippe, his studio had been the rendezvous of a sort of liberal club, to the last — amid all the disasters that befell his country — he was hopeful of the future, la raison finira bien par avoir raison. It was while on a visit to the Retrospective Exhibition, opened on behalf of the exiles from Alsace and Lorraine, that he died suddenly on 5 May 1874. He also left a number of drawings and watercolours. In Clements catalogue of his works there are 683 entries, including sketches and studies and this article incorporates text from a publication now in the public domain, Chisholm, Hugh, ed. Gleyre, Marc Charles Gabriel. Fritz Berthoud in Bibliothèque universelle de Geneve, Albert de Montet, Dict
15.
Zouave
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The Zouaves were a class of light infantry regiments of the French Army serving between 1830 and 1962 and linked to French North Africa, as well as some units of other countries modelled upon them. The zouaves, along with the indigenous Tirailleurs Algeriens, were among the most decorated units of the French Army, the regiment was to consist of sixteen hundred Zwawa Berbers, French NCOs and French officers. Twelve years later, zouaves began to be recruited exclusively from Europeans, in the 1860s, new units in several other countries called themselves Zouaves. In the 1870s, former Papal zouaves formed the cadre for a short-lived Spanish zouave unit, the zouave title was also used by Brazilian units of black volunteers in the Paraguayan War, possibly due to a perceived link with Africa. In the United States, zouaves were brought to attention by Elmer E. Ellsworth. Zouave units were raised on both sides of the American Civil War of 1861-5, including a regiment under Ellsworths command. The distinctive uniforms of zouave units tended to include short open-fronted jackets, baggy trousers, sashes, the existence of the new corps was formally recognised by a Royal decree dated 7 March 1833. From their beginning the Zouave units included a French European element, initially drawn from the demobilized Garde royal of Charles X, from March 1833 each zouave battalion was organised into ten companies, of which eight were Muslim Berbers and Arabs and two French. In 1838 a third battalion was raised, and the regiment thus formed was commanded by Major de Lamoriciere, shortly afterwards the formation of the Tirailleurs algériens, the Turcos, as the infantry corps for Muslim troops, changed the basis for enlistment of the Zouave battalions. For most of their history the Zouaves became an essentially French body. Initially serving in battalion sized units, the zouaves were reorganized as separated regiments in 1852, The 1st Zouaves were linked to Algiers, the 1st Zouaves had a continuous existence from 1852 to 1949. They were first formed as the Zouaves of the Imperial Guard in 1854 and they remained in existence under this title until 1962. At the end of the Algerian War six zouave regiments were in existence, of which the 1er was disbanded in 1960, other provisional regiments of zouaves were raised in 1914 and 1939 for the First and Second World Wars respectively. During World War I nine regiments de marche of zouaves were created, comprising active, reserve, in World War II the number reached fourteen. The zouave regiments raised in 1914 for the First World War were the 8th and 9th, the 13th Zouaves were raised in 1919 and dissolved in 1940. The zouave regiments raised in 1939 for the Second World War were the 11th, 12th, 14th, other regiments raised later in the Second World War were the 9th, 22nd, 23rd, and 29th. In addition, four mixed zouave and tirailleur regiments were raised for the First World War, the 9th Zouaves were the last French zouave unit. There was no zouave regiment in existence between 1962-82 and none now survive in the French Army, the Zouaves saw extensive service during the French conquest of Algeria, initially at the Mouzaia Pass action, then at Mitidja and the siege of Constantine
16.
Franco-Prussian War
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The conflict was caused by Prussian ambitions to extend German unification and French fears of the shift in the European balance of power that would result if the Prussians succeeded. On 16 July 1870, the French parliament voted to declare war on the German Kingdom of Prussia, the German coalition mobilised its troops much more quickly than the French and rapidly invaded northeastern France. The German forces were superior in numbers, had training and leadership and made more effective use of modern technology, particularly railroads. The German states proclaimed their union as the German Empire under the Prussian king Wilhelm I, the Treaty of Frankfurt of 10 May 1871 gave Germany most of Alsace and some parts of Lorraine, which became the Imperial territory of Alsace-Lorraine. French determination to regain Alsace-Lorraine and fear of another Franco-German war, along with British apprehension about the balance of power, the causes of the Franco-Prussian War are deeply rooted in the events surrounding the unification of Germany. In the aftermath of the Austro-Prussian War of 1866, Prussia had annexed numerous territories and this new power destabilized the European balance of power established by the Congress of Vienna in 1815 after the Napoleonic Wars. France was strongly opposed to any further alliance of German states, in Prussia, some officials considered a war against France both inevitable and necessary to arouse German nationalism in those states that would allow the unification of a great German empire. Bismarck also knew that France should be the aggressor in the conflict to bring the southern German states to side with Prussia, many Germans also viewed the French as the traditional destabilizer of Europe, and sought to weaken France to prevent further breaches of the peace. The immediate cause of the war resided in the candidacy of Leopold of Hohenzollern-Sigmaringen, France feared encirclement by an alliance between Prussia and Spain. The Hohenzollern princes candidacy was withdrawn under French diplomatic pressure, releasing the Ems Dispatch to the public, Bismarck made it sound as if the king had treated the French envoy in a demeaning fashion, which inflamed public opinion in France. They also argue that he wanted a war to resolve growing domestic political problems, other historians, notably French historian Pierre Milza, dispute this. According to Milza, the Emperor had no need for a war to increase his popularity, the Ems telegram had exactly the effect on French public opinion that Bismarck had intended. This text produced the effect of a red flag on the Gallic bull, gramont, the French foreign minister, declared that he felt he had just received a slap. Napoleons new prime minister, Emile Ollivier, declared that France had done all that it could humanly and honorably do to prevent the war, a crowd of 15–20,000 people, carrying flags and patriotic banners, marched through the streets of Paris, demanding war. On 19 July 1870 a declaration of war was sent to the Prussian government, the southern German states immediately sided with Prussia. The French Army consisted in peacetime of approximately 400,000 soldiers, some of them were veterans of previous French campaigns in the Crimean War, Algeria, the Franco-Austrian War in Italy, and in the Mexican campaign. Under Marshal Adolphe Niel, urgent reforms were made, universal conscription and a shorter period of service gave increased numbers of reservists, who would swell the army to a planned strength of 800,000 on mobilisation. Those who for any reason were not conscripted were to be enrolled in the Garde Mobile, however, the Franco-Prussian War broke out before these reforms could be completely implemented
17.
Battle of Beaune-la-Rolande
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The Battle of Beaune-la-Rolande on 28 November 1870 was a battle of the Franco-Prussian War, won by Prussia. In an attempt to relieve the Siege of Paris, French General Crouzats XX Corps launched an attack against three Prussian brigades resting in Beaune-la-Rolande. These brigades were from the Prussian X Corps which was detailed to guard the flanks and rear of the force besieging Paris and provide early warning of any French counter-attacks. The French committed a force of 60,000 men, largely conscripts of the Garde Mobile, despite the overwhelming superiority of numbers the French attack failed to take the village and was ultimately forced to retreat by Prussian reinforcements. Prussian losses amounted to 817 soldiers and 37 officers with the French losing around 8,000 men and 100 taken prisoner. The French XX Corps changed its plan of attack, bypassing the village, but was unsuccessful at relieving the siege of Paris, the Prussian army had begun its invasion of France in August and was already laying siege to Paris. The three Prussian brigades at Beaune-la-Rolande were under the command of Konstantin Bernhard von Voigts-Rhetz and were resting after pursuing retreating French forces, the nearest reinforcements were ten miles away at Pithiviers under General Constantin von Alvensleben. General Crouzat had a force of between 31,000 and 60,000 men and 140 artillery pieces against the Prussian 9,000 to 12,000 men and 70 guns. The French force were equipped with the Chassepot rifle which had almost double the range of the Prussian Dreyse. The Prussians, coming under heavy French artillery fire, withdrew all bar 13 companies of infantry from the village, opening fire at 200 paces, the French assaults were halted at the edge of the village, its roads now protected by barricades. The most successful attack was made by the 3rd Zouave Regiment which left 700 dead, every one of General Crouzats staff officers were killed or wounded whilst encouraging the attack. A second attack was sent at 1. 30pm with the Prussians running low on ammunition, the defenders held their fire until the French were almost upon them, unleashing a volley which was followed by half an hour of frenzied close combat before the French were repulsed once more. Crouzat, determined to take the village, ordered one more attack after dark and this attack was delivered straight along the road into the village and came close to breaching the outer defences but was again driven back by the concentrated volleys of Prussian fire. The French had lost heart for the battle and the majority of the men refused their officers orders to close with the enemy, discharged their rifles at the enemy and ran away. Military analysts were shocked at the news of the defeat of 60,000 men by 9,000 and this was intended to improve discipline and harden up the troops but simply reduced their morale. It is cited as one of the first occasions where the fragility of a large recently conscripted army was demonstrated, the Garde Mobile could only be relied upon when defending a fortified position and were almost useless for an attack launched in the style of the Napoleonic Wars. However, almost the entire French regular army was already lost at the battles of Sedan, upon receiving news of this sortie the Army of the Loire wheeled to the right to bypass Beaune-la-Rolande and march on Paris. French casualties amounted to around 8,000 soldiers killed and wounded and 100 taken prisoner, the Prussians lost 817 soldiers and 37 officers killed
18.
Aigues-Mortes
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Aigues-Mortes is a French commune in the Gard department in the Occitanie region of southern France. The medieval city walls surrounding the city are well preserved, the inhabitants of the commune are known as Aigues-Mortais or Aigues-Mortaises. Aigues-Mortes is located in the Petite Camargue some 90 km northwest of Marseilles, by road, Aigues-Mortes is about 33 km southwest of Nîmes, and 20 km east of Montpellier in a direct line. Access to the commune is by route D979 coming south from Saint-Laurent-dAigouze to Aigues-Mortes town, route D979 continues southwest through the commune to Le Grau-du-Roi. Route D62 also starts from Aigues-Mortes heading southwest parallel to D979 before turning eastwards, route D62A continues to Plan dEau du Vidourie. The commune is composed of a portion of the wet plains and it is separated from the Gulf of Lions by the town of Le Grau-du-Roi, however Aigues-Mortes is connected to the sea through the Canal du Rhône à Sète. There is only one other hamlet in the commune called Mas de Jarras Listel on the western border, a rail branch line from Nîmes passes through Aigues-Mortes from north-east to south-west, with a station in the town of Aigues-Mortes, to its terminus on the coast at Le-Grau-du-Roi. This line also transports sea salt, the communes of Saint-Laurent-dAigouze and Le Grau-du-Roi are adjacent to the town of Aigues-Mortes. Its inhabitants are called Aigues-Mortais or Aigues-Mortise, in Occitan they are aigamortencs, Aigues-Mortes is one of 79 member communes of the Schéma de cohérence territoriale of South Gard and is also one of 34 communes in the Pays Vidourle-Camargue. Aigues-Mortes is one of the four communes of the Loi littoral of SCoT in the South of Gard, attested in the Latinized form Aquae Mortuae in 1248. The name comes from the Occitan Aigas Mortas meaning dead water, or stagnant water equivalent to toponymic types in the Morteau Oil dialect cf. Morteau, mortua Aqua and Morteaue, mortua Aqua. The name comes from the Aigues-Mortes marshes and ponds that stretch around the village, Grau comes from the Occitan grau meaning pond with extension. Grau du Roy in French means pond of the King, the foundation of the city is said to have been by Gaius Marius, around 102BC but there is no documentary evidence to support this. A Roman by the name of Peccius fitted out the first salt marsh, salt mining started from the Neolithic period and was continued in the Hellenistic period, but the ancient uses of saline have not resulted in any major archaeological discovery. It is likely any remains were destroyed by modern saline facilities. In 791, Charlemagne erected the Matafère tower amid the swamps for the safety of fishermen and salt workers. Some argue that the signaling and transmission of news was not foreign to the building of tower which was designed to give warning in case of arrival of a fleet. This monastery still existed in 812, as confirmed by an act of endowment made by the Badila from Nîmes at the abbey
19.
Cambridge, Massachusetts
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Cambridge is a city in Middlesex County, Massachusetts, and is a part of the Boston metropolitan area. According to the 2010 Census, the population was 105,162. As of July 2014, it was the fifth most populous city in the state, behind Boston, Worcester, Springfield, Cambridge was one of the two seats of Middlesex County prior to the abolition of county government in 1997, Lowell was the other. The site for what would become Cambridge was chosen in December 1630, because it was located safely upriver from Boston Harbor, Thomas Dudley, his daughter Anne Bradstreet, and her husband Simon, were among the first settlers of the town. The first houses were built in the spring of 1631, the settlement was initially referred to as the newe towne. Official Massachusetts records show the name capitalized as Newe Towne by 1632, the original village site is in the heart of todays Harvard Square. In the late 19th century, various schemes for annexing Cambridge itself to the city of Boston were pursued and rejected, in 1636, the Newe College was founded by the colony to train ministers. Newe Towne was chosen for the site of the college by the Great and General Court primarily—according to Cotton Mather—to be near the popular, in May 1638 the name of the settlement was changed to Cambridge in honor of the university in Cambridge, England. Hooker and Shepard, Newtownes ministers, and the colleges first president, major benefactor, in 1629, Winthrop had led the signing of the founding document of the city of Boston, which was known as the Cambridge Agreement, after the university. It was Governor Thomas Dudley who, in 1650, signed the charter creating the corporation which still governs Harvard College, Cambridge grew slowly as an agricultural village eight miles by road from Boston, the capital of the colony. By the American Revolution, most residents lived near the Common and Harvard College, with farms and estates comprising most of the town. Coming up from Virginia, George Washington took command of the volunteer American soldiers camped on Cambridge Common on July 3,1775, most of the Tory estates were confiscated after the Revolution. On January 24,1776, Henry Knox arrived with artillery captured from Fort Ticonderoga, a second bridge, the Canal Bridge, opened in 1809 alongside the new Middlesex Canal. The new bridges and roads made what were formerly estates and marshland into prime industrial and residential districts, in the mid-19th century, Cambridge was the center of a literary revolution when it gave the country a new identity through poetry and literature. Cambridge was home to some of the famous Fireside Poets—so called because their poems would often be read aloud by families in front of their evening fires, the Fireside Poets—Henry Wadsworth Longfellow, James Russell Lowell, and Oliver Wendell Holmes—were highly popular and influential in their day. Cambridge was incorporated as a city in 1846, the citys commercial center began to shift from Harvard Square to Central Square, which became the downtown of the city around this time. The coming of the railroad to North Cambridge and Northwest Cambridge then led to three changes in the city, the development of massive brickyards and brickworks between Massachusetts Ave. For many decades, the citys largest employer was the New England Glass Company, by the middle of the 19th century it was the largest and most modern glassworks in the world
20.
Harvard University
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Although never formally affiliated with any denomination, the early College primarily trained Congregationalist and Unitarian clergy. Its curriculum and student body were gradually secularized during the 18th century, james Bryant Conant led the university through the Great Depression and World War II and began to reform the curriculum and liberalize admissions after the war. The undergraduate college became coeducational after its 1977 merger with Radcliffe College, Harvards $34.5 billion financial endowment is the largest of any academic institution. Harvard is a large, highly residential research university, the nominal cost of attendance is high, but the Universitys large endowment allows it to offer generous financial aid packages. Harvards alumni include eight U. S. presidents, several heads of state,62 living billionaires,359 Rhodes Scholars. To date, some 130 Nobel laureates,18 Fields Medalists, Harvard was formed in 1636 by vote of the Great and General Court of the Massachusetts Bay Colony. In 1638, it obtained British North Americas first known printing press, in 1639 it was named Harvard College after deceased clergyman John Harvard an alumnus of the University of Cambridge who had left the school £779 and his scholars library of some 400 volumes. The charter creating the Harvard Corporation was granted in 1650 and it offered a classic curriculum on the English university model—many leaders in the colony had attended the University of Cambridge—but conformed to the tenets of Puritanism. It was never affiliated with any denomination, but many of its earliest graduates went on to become clergymen in Congregational. The leading Boston divine Increase Mather served as president from 1685 to 1701, in 1708, John Leverett became the first president who was not also a clergyman, which marked a turning of the college toward intellectual independence from Puritanism. When the Hollis Professor of Divinity David Tappan died in 1803 and the president of Harvard Joseph Willard died a year later, in 1804, in 1846, the natural history lectures of Louis Agassiz were acclaimed both in New York and on the campus at Harvard College. Agassizs approach was distinctly idealist and posited Americans participation in the Divine Nature, agassizs perspective on science combined observation with intuition and the assumption that a person can grasp the divine plan in all phenomena. When it came to explaining life-forms, Agassiz resorted to matters of shape based on an archetype for his evidence. Charles W. Eliot, president 1869–1909, eliminated the position of Christianity from the curriculum while opening it to student self-direction. While Eliot was the most crucial figure in the secularization of American higher education, he was motivated not by a desire to secularize education, during the 20th century, Harvards international reputation grew as a burgeoning endowment and prominent professors expanded the universitys scope. Rapid enrollment growth continued as new schools were begun and the undergraduate College expanded. Radcliffe College, established in 1879 as sister school of Harvard College, Harvard became a founding member of the Association of American Universities in 1900. In the early 20th century, the student body was predominately old-stock, high-status Protestants, especially Episcopalians, Congregationalists, by the 1970s it was much more diversified
21.
Minneapolis Institute of Art
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The museum receives support from the Park Board Museum Fund, levied by the Hennepin County commissioners. Additional funding is provided by sponsors and museum members. It is one of the largest art museums in the United States, the Minneapolis Society of Fine Arts was established in 1883 to bring the arts into the life of the community. This group, made up of business and professional leaders, organized art exhibits throughout the decade, in 1889, the Society, now known as the Minneapolis Institute of Art, moved into its first permanent space, inside the newly built Minneapolis Public Library. The institute received gifts from Clinton Morrison and William Hood Dunwoody, among others, a few days later the institute received a letter from Dunwoody, who got the ball rolling, Put me down for $100,000. A fundraising dinner a few days later brought in $335,500, the new museum, designed by the firm of McKim, Mead and White, opened in 1915. The building came to be recognized as one of the finest examples of the Beaux-Arts architectural style in Minnesota. The art historian Bevis Hillier organized the exhibition Art Deco at the museum, presented from July to September 1971, the building was originally meant to be the first of several sections, but only the front piece built. Several additions have subsequently been built according to plans, including a 1974 addition by Kenzo Tange. An expansion designed by Michael Graves was completed in June 2006, before the latest expansion, just 4 percent of the museums nearly 100,000 objects could be on view at the same time, now that figure is 5 percent. Target Corporation, for which the new wing is named, was the biggest donor, in 2015 the institute rebranded itself, dropping the final s from its name, to become the Minneapolis Institute of Art and encouraging the use of the nickname Mia instead of the acronym MIA. The museum features a collection of approximately 80,000 objects spanning 5,000 years of world history. Its collection includes paintings, photographs, prints & drawings, textiles, architecture, the Asian collection includes Chinese architecture, jades, bronzes, and ceramics. The institute owns the Purcell-Cutts House, just east of Lake of the Isles, the house was designed by Purcell & Elmslie and is a masterpiece of Prairie School architecture. It was donated to the museum by Anson B, cutts Jr. the son of its second owner. The house is available for tours on the weekend of each month. In order to encourage private collecting and assist in the acquisition of important works of art, the groups schedule lectures, symposia, and travel for members. The museum features a series of exhibitions that bring in traveling collections from other museums for display
22.
Minneapolis
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Minneapolis is the county seat of Hennepin County, and the larger of the Twin Cities, the 16th-largest metropolitan area in the United States. As of 2015, Minneapolis is the largest city in the state of Minnesota, Minneapolis and Saint Paul anchor the second-largest economic center in the Midwest, after Chicago. Minneapolis lies on both banks of the Mississippi River, just north of the confluence with the Minnesota River, and adjoins Saint Paul. It was once the worlds flour milling capital and a hub for timber, the city and surrounding region is the primary business center between Chicago and Seattle, with Minneapolis proper containing Americas fifth-highest concentration of Fortune 500 companies. As an integral link to the economy, Minneapolis is categorized as a global city. Noted for its music and performing arts scenes, Minneapolis is home to both the award-winning Guthrie Theater and the historic First Avenue nightclub. The name Minneapolis is attributed to Charles Hoag, the citys first schoolteacher, who combined mni, a Dakota Sioux word for water, and polis, Dakota Sioux had long been the regions sole residents when French explorers arrived around 1680. For a time relations were based on fur trading, gradually more European-American settlers arrived, competing for game and other resources with the Dakota. In the early 19th century, the United States acquired this territory from France, fort Snelling was built in 1819 by the United States Army, and it attracted traders, settlers and merchants, spurring growth in the area. The United States government pressed the Mdewakanton band of the Dakota to sell their land, the Minnesota Territorial Legislature authorized present-day Minneapolis as a town in 1856 on the Mississippis west bank. Minneapolis incorporated as a city in 1867, the rail service began between Minneapolis and Chicago. It later joined with the city of St. Anthony in 1872. Minneapolis developed around Saint Anthony Falls, the highest waterfall on the Mississippi River, forests in northern Minnesota were a valuable resource for the lumber industry, which operated seventeen sawmills on power from the waterfall. By 1871, the west river bank had twenty-three businesses, including mills, woolen mills, iron works, a railroad machine shop, and mills for cotton, paper, sashes. Due to the hazards of milling, six local sources of artificial limbs were competing in the prosthetics business by the 1890s. The farmers of the Great Plains grew grain that was shipped by rail to the citys thirty-four flour mills, a father of modern milling in America and founder of what became General Mills, Cadwallader C. Some ideas were developed by William Dixon Gray and some acquired through industrial espionage from the Hungarians by William de la Barre, pillsbury Company across the river were barely a step behind, hiring Washburn employees to immediately use the new methods. The hard red spring wheat that grows in Minnesota became valuable, not until later did consumers discover the value in the bran that Minneapolis
23.
Harvard Art Museums
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The Harvard Art Museums are part of Harvard University and comprise three museums, the Fogg Museum, the Busch-Reisinger Museum, and the Arthur M. The three museums that constitute the Harvard Art Museums were initially integrated into an institution under the name Harvard University Art Museums in 1983. The word University was dropped from the name in 2008. In 2008, the Harvard Art Museums historic building at 32 Quincy Street, in a view of the front facade, the glass roof and other expansions are mostly concealed, largely preserving the original appearance of the building. The renovation adds six levels of galleries, classrooms, lecture halls, the new building was opened in November 2014. The museum was housed in an Italian Renaissance-style building designed by Richard Morris Hunt. In 1925, the building was replaced by a Georgian Revival-style structure on Quincy Street, designed by Coolidge, Shepley, Bulfinch, and Abbott. The Fogg Museum is renowned for its holdings of Western paintings, sculpture, decorative arts, photographs, prints, particular strengths include Italian Renaissance, British Pre-Raphaelite, and French art of the 19th century, as well as 19th- and 20th-century American paintings and drawings. Central to the Foggs holdings is the Grenville L. Winthrop Collection, flemish Renaissance paintings — Master of Catholic Kings, Jan Provoost, Master of Holy Blood, Aelbert Bouts, and Master of Saint Ursula. Italian Renaissance period paintings — Fra Angelico, Sandro Botticelli, Domenico Ghirlandaio, Gherardo Starnina, Cosme Tura, Giovanni di Paolo, French Baroque period paintings — Nicolas Poussin, Jacques Stella, Nicolas Regnier, and Philippe de Champaigne. Dutch Master paintings — Rembrandt, Emanuel de Witte, Jan Steen, Willem Van de Velde, Jacob Van Ruisdael, Salomon van Ruysdael, Jan van der Heyden, william James spoke at its dedication. Its holdings include significant works of Austrian Secession art, German expressionism, 1920s abstraction, other strengths include late medieval sculpture and 18th-century art. It has sculpture by Alfred Barye, Kathe Kollwitz, George Minne, from 1921 to 1991, the Busch-Reisinger was located in Adolphus Busch Hall at 29 Kirkland Street. In 1991, the Busch-Reisinger moved to the new Werner Otto Hall, designed by Gwathmey Siegel & Associates, kuno Francke, 1903-1930 Charles L. Kuhn, 1930-1968 Peter Nisbet Lynette Roth The Arthur M. Sackler Museum opened in 1985. The museum building, which was designed by British architect James Stirling, was named for the donor, Arthur M. Sackler, a psychiatrist, entrepreneur. The museum also housed offices for the History of Art and Architecture faculty, as of 2016, the old Sackler Museum building houses the History of Art and Architecture Department and the Media Slide Library. The ancient Mediterranean and Byzantine collections comprise significant works in all media from Greece, Rome, Egypt, strengths include Greek vases, small bronzes, and coins from throughout the ancient Mediterranean world. The building is remarkable for the creative virtuosity with which its functions are accommodated while suggesting a monumentality that belies actual dimensions, Stirling was lucky to have as a client the director of the Fogg, Seymour Slive, who understood this achievement immediately
24.
Museum of Fine Arts, Houston
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The Museum of Fine Arts, Houston, located in the Houston Museum District, Houston, is one of the largest museums in the United States. The permanent collection of the museum more than 6,000 years of history with approximately 64,000 works from six continents. The museum benefits the Houston community through programs, publications and media presentations, each year,1.25 million people benefit from museums programs, workshops and resource centers. Of that total, more than 500,000 people participate in the community outreach programs, the MFAHs permanent collection totals 63,718 pieces in 270,000 square feet of exhibition space, placing it among the larger art museums in the United States. The museums collections and programs are housed in seven facilities, the main buildings have 130,000 square feet of exhibition space. Caroline Wiess Law Building – the original building was designed in phases by architect William Ward Watkin. The original Caroline Wiess Law building was constructed in 1924 and the east and west wing were added in 1926, the Robert Lee Blaffer Memorial Wing was designed by Kenneth Franzheim and opened to the public in 1953. The new construction included significant structural improvements to several existing galleries—most notably, two subsequent additions, Cullinan Hall and the Brown Pavilion, designed by Ludwig Mies van der Rohe were built in 1958 and 1974 respectively. This section of the Museum of Fine Arts, Houston campus is the only Mies-designed museum in the United States, the museum Trustees elected to name the building after Audrey Jones Beck in honor of the large collection she had donated to the museum several decades prior. The new building will occupy a two-acre museum-owned site that is currently a parking lot, the new MFAH building will be integrated with the adjacent Lillie and Hugh Roy Cullen Sculpture Garden and an expanded Glassell School of Art. It will also include 25 galleries for traveling exhibitions, educational areas, a library, lecture halls, a theater, the museum expects the project to cost $250 million to $350 million with the design process taking about two years, followed by five years of construction. The Lillie and Hugh Roy Cullen Sculpture Garden – was designed by US-born artist and landscape architect Isamu Noguchi, the garden itself is a sculpture that unites the pathways between the Caroline Wiess Law Building and the Glassell School of Art. Glassell School of Art – founded in 1979 and designed by architect S. I, morris, the Glassell School of Art offers programs under the Studio School for Adults. The Glassell School of Art serves as the wing of the MFAH, with a variety of classes, workshops, and educational opportunities for students diverse in age, interests, experience. In 2014, Steven Holl designed a new L-shaped building for the school, the school offers classes at the Studio School for Adults and the Glassell Junior School, as well as Community Bridge Programs, special programs for youths, and the Core Artist-in-Residence Program. The MFAH is the museum facility in the United States that has a special building dedicated solely to art classes for children. Bayou Bend Collection and Gardens – features one of the nations finest collections of American decorative art, the Bayou Bend Collection and Gardens, former home of Life Trustee Ima Hogg, was designed by architect John F. Staub in 1927. Miss Hogg donated the property to the MFAH in 1957, followed, in 1962, by the donation of its collection of paintings, furniture, ceramics, glass, metals, Bayou Bend was officially dedicated and opened to the public in 1966
25.
Paul Verlaine
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Paul-Marie Verlaine was a French poet associated with the Decadent movement. He is considered one of the greatest representatives of the fin de siècle in international, born in Metz, Verlaine was educated at the Lycée Impérial Bonaparte in Paris and then took up a post in the civil service. He began writing poetry at an age, and was initially influenced by the Parnassien movement and its leader. Verlaines first published poem was published in 1863 in La Revue du progrès, Verlaines first published collection, Poèmes saturniens, though adversely commented upon by Sainte-Beuve, established him as a poet of promise and originality. Verlaines private life spills over into his work, beginning with his love for Mathilde Mauté de Fleurville, Mathilde became Verlaines wife in 1870. At the proclamation of the Third Republic in the year, Verlaine joined the 160th battalion of the Garde nationale. He became head of the bureau of the Central Committee of the Paris Commune. Verlaine escaped the deadly street fighting known as the Bloody Week, or Semaine Sanglante, Verlaine returned to Paris in August 1871, and, in September, he received the first letter from Arthur Rimbaud. By 1872, he had lost interest in Mathilde, and effectively abandoned her and their son, Rimbaud and Verlaines stormy affair took them to London in 1872. In Brussels in July 1873 in a drunken, jealous rage, romances sans paroles was published while Verlaine was imprisoned. From there he went to teach in Boston, before moving to Bournemouth, while in England he produced another successful collection, Sagesse. He returned to France in 1877 and, while teaching English at a school in Rethel, fell in love one of his pupils, Lucien Létinois. Verlaine was devastated when Létinois died of typhus in 1883, Verlaines last years saw his descent into drug addiction, alcoholism, and poverty. He lived in slums and public hospitals, and spent his days drinking absinthe in Paris cafes and his poetry was admired and recognized as ground-breaking, and served as a source of inspiration to composers. Gabriel Fauré composed many mélodies, such as the song cycles Cinq mélodies de Venise and La bonne chanson, claude Debussy set to music Clair de lune and six of the Fêtes galantes poems, forming part of the mélodie collection known as the Recueil Vasnier. Reynaldo Hahn set several of Verlaines poems as did the Belgian-British composer Poldowski and his drug dependence and alcoholism caught up with him and took a toll on his life. Paul Verlaine died in Paris at the age of 51 on 8 January 1896, much of the French poetry produced during the fin de siècle was characterized as decadent for its lurid content or moral vision. But with the publication of Jean Moréas Symbolist Manifesto in 1886, along with Verlaine, Mallarmé, Rimbaud, Paul Valéry, Albert Samain and many others began to be referred to as Symbolists
26.
Dallas Museum of Art
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The Dallas Museum of Art is a major art museum located in the Arts District of downtown Dallas, Texas, along Woodall Rodgers Freeway between St. Paul and Harwood. In 1984, the museum moved from its previous location in Fair Park to the Arts District, the new building was designed by Edward Larrabee Barnes, the 2007 winner of the American Institute of Architects Gold Medal. The museum collection is made up of more than 24,000 objects and it is also defined by its dynamic exhibition policy and award-winning educational programs. The Mildred R. and Frederick M. Mayer Library contains over 50,000 volumes available to curators, with 159,000 square feet of exhibition spaces, it is one of the largest art museums in the United States. The museums history began with the establishment in 1903 of the Dallas Art Association, frank Reaugh, a Texas artist, saw in the new library the opportunity to display works of art. This idea was championed by May Dickson Exall, who was the first president of the Dallas Public Library. ”The museum’s collections started growing from this moment on and it soon became necessary to find a new permanent home. The museum, renamed the Dallas Museum of Fine Arts in 1932, relocated to a new art deco facility within Fair Park in 1936 and this new facility was designed by a consortium of Dallas architects in consultation with Paul Cret of Philadelphia. It is still possible to visit this building, in 1943, Jerry Bywaters became the director of the museum, a position he held for the next twenty-one years. Artist, art critic, and teacher, Bywaters gave a sense of identity and community to the museum, under Bywaters tenure, impressionist, abstract, and contemporary masterpieces were acquired and the Texas identity of the museum was emphasized. This identity is represented by works by Alexandre Hogue, Olin Herman Travis, Bywaters himself. In 1963, the Dallas Museum of Fine Arts merged with the Dallas Museum of Contemporary Art, rueppel became the director of the newly merged Museum. In 1965, the museum held an exhibition called The Art of Piet Mondrian and one entitled Sculpture, by the late 1970s, the greatly enlarged permanent collection and the ambitious exhibition program fostered a need for a new museum facility. Under Harry Parker’s direction, the museum was able to once again, to its current venue. The $54 million facility, designed by New York architect Edward Larrabee Barnes, was financed by a 1979 City bond election, the project was galvanized by the slogan “A Great City Deserves a Great Museum, ” and the new building opened in January 1984. The museums collections include more than 24,000 works of art from around the world ranging from ancient to modern times and they are conceived as a celebration of the human power of creation. Objects in the museum’s African collection come from West Africa and Central Africa, the objects date primarily from the 16th to the 20th centuries, although the earliest object is a Nok terracotta bust from Nigeria that dates from somewhere between 200 BC to 200 AD. Some works in the collection were created as symbols of leadership and status, the American art collection includes paintings, sculptures, and works on paper from the United States from the colonial period to World War II, and art from Mexico, and Canada. One of the most important pieces in the collection is The Icebergs by Frederic Edwin Church and this painting had long been referred to as a lost masterpiece
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International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
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Gustave Caillebotte
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Gustave Caillebotte was a French painter, member and patron of the artists known as Impressionists, although he painted in a much more realistic manner than many others in the group. Caillebotte was noted for his early interest in photography as an art form, Gustave Caillebotte was born on 19 August 1848 to an upper-class Parisian family living in the rue du Faubourg-Saint-Denis. His father, Martial Caillebotte, was the inheritor of the familys textile business and was also a judge at the Seine departments Tribunal de commerce. Caillebottes father was widowed before marrying Caillebottes mother, Céleste Daufresne. Caillebotte was born at home on rue du Faubourg-Saint-Denis in Paris, and lived there until 1866 and it probably was around this time that Caillebotte began to draw and paint. Caillebotte earned a law degree in 1868 and a licence to practise law in 1870, shortly after his education, he was drafted to fight in the Franco-Prussian war, and served from July 1870 to March 1871 in the Garde Nationale Mobile de la Seine. After the war, Caillebotte began visiting the studio of painter Léon Bonnat and he developed an accomplished style in a relatively short time and had his first studio in his parents home. In 1873, Caillebotte entered the École des Beaux-Arts, but apparently did not spend time there. He inherited his fathers fortune in 1874 and the surviving sons divided the family fortune after their mothers death in 1878, the Impressionists – also called the Independents, Intransigents, and Intentionalists – had broken away from the academic painters showing in the annual Salons. Caillebotte made his debut in the second Impressionist exhibition in 1876, showing eight paintings, including, Les raboteurs de parquet, his earliest masterpiece. Its subject matter, the depiction of labourers preparing a wooden floor was considered vulgar by some critics, at the time, the art establishment deemed only rustic peasants or farmers acceptable subjects from the working class. The painting is now at the Musée dOrsay, a second version, in a more realistic style resembling that of Degas, also was exhibited, demonstrating Caillebottes range of technique and his adept restatement of the same subject matter. With regard to the composition and painting style of his works, the second period of Pointillism, whose main representative was Georges Seurat, announced its influence in the late works that Caillebotte painted at his country house in Petit Gennevilliers. Caillebottes style belongs to the School of Realism, but was influenced by his Impressionist associates. A large number of Caillebottes works also employ a very high point, including View of Rooftops, Boulevard Seen from Above. Caillebotte painted many domestic and familial scenes, interiors, and portraits, there are scenes of dining, card playing, piano playing, reading, and sewing, all executed in an intimate, unobtrusive manner that portrays the quiet ritual of upper-class indoor life. His country scenes at Yerres focus on pleasure boating on the stream as well as fishing and swimming. He often used a soft impressionistic technique reminiscent of Renoir to convey the nature of the countryside
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Mary Cassatt
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Mary Stevenson Cassatt was an American painter and printmaker. She was born in Pennsylvania, but lived much of her life in France. Cassatt often created images of the social and private lives of women and she was described by Gustave Geffroy in 1894 as one of les trois grandes dames of Impressionism alongside Marie Bracquemond and Berthe Morisot. Cassatt was born in Allegheny City, Pennsylvania, which is now part of Pittsburgh and she was born into an upper-middle-class family, Her father, Robert Simpson Cassat, was a successful stockbroker and land speculator. He was descended from the French Huguenot Jacques Cossart, who came to New Amsterdam in 1662 and her mother, Katherine Kelso Johnston, came from a banking family. Katherine Cassatt, educated and well-read, had a influence on her daughter. The ancestral name had been Cossart, a distant cousin of artist Robert Henri, Cassatt was one of seven children, of whom two died in infancy. One brother, Alexander Johnston Cassatt, later president of the Pennsylvania Railroad. The family moved eastward, first to Lancaster, Pennsylvania, then to the Philadelphia area, Cassatt grew up in an environment that viewed travel as integral to education, she spent five years in Europe and visited many of the capitals, including London, Paris, and Berlin. While abroad she learned German and French and had her first lessons in drawing and it is likely that her first exposure to French artists Ingres, Delacroix, Corot, and Courbet was at the Paris World’s Fair of 1855. Also in the exhibition were Degas and Pissarro, both of whom were later her colleagues and mentors, though her family objected to her becoming a professional artist, Cassatt began studying painting at the Pennsylvania Academy of the Fine Arts in Philadelphia at the early age of 15. Part of her parents concern may have been Cassatts exposure to feminist ideas, although about 20 percent of the students were female, most viewed art as a socially valuable skill, few of them were determined, as Cassatt was, to make art their career. She continued her studies from 1861 through 1865, the duration of the American Civil War, among her fellow students was Thomas Eakins, later the controversial director of the Academy. Impatient with the pace of instruction and the patronizing attitude of the male students and teachers. She later said, There was no teaching at the Academy, female students could not use live models, until somewhat later, and the principal training was primarily drawing from casts. Cassatt decided to end her studies, At that time, no degree was granted, after overcoming her fathers objections, she moved to Paris in 1866, with her mother and family friends acting as chaperones. The museum also served as a place for Frenchmen and American female students. In this manner, fellow artist and friend Elizabeth Jane Gardner met, toward the end of 1866, she joined a painting class taught by Charles Chaplin, a noted genre artist
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Edgar Degas
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Edgar Degas was a French artist famous for his paintings, sculptures, prints, and drawings. He is especially identified with the subject of dance, more than half of his works depict dancers and he is regarded as one of the founders of Impressionism, although he rejected the term, preferring to be called a realist. He was a draftsman, and particularly masterly in depicting movement, as can be seen in his rendition of dancers, racecourse subjects. His portraits are notable for their complexity and for their portrayal of human isolation. At the beginning of his career, Degas wanted to be a history painter, in his early thirties, he changed course, and by bringing the traditional methods of a history painter to bear on contemporary subject matter, he became a classical painter of modern life. Degas was born in Paris, France, into a wealthy family. He was the oldest of five children of Célestine Musson De Gas, a Creole from New Orleans, Louisiana, and Augustin De Gas and his maternal grandfather Germain Musson, was born in Port-au-Prince, Haiti of French descent and had settled in New Orleans in 1810. Degas began his schooling at age eleven, enrolling in the Lycée Louis-le-Grand and his mother died when he was thirteen, and his father and grandfather became the main influences on him for the remainder of his youth. Degas began to paint early in life, by the time he graduated from the Lycée with a baccalauréat in literature in 1853, at age 18, he had turned a room in his home into an artists studio. Upon graduating, he registered as a copyist in The Louvre Museum, Degas duly enrolled at the Faculty of Law of the University of Paris in November 1853, but applied little effort to his studies. In April of that year Degas was admitted to the École des Beaux-Arts and he studied drawing there with Louis Lamothe, under whose guidance he flourished, following the style of Ingres. In July 1856, Degas traveled to Italy, where he would remain for the three years. In 1858, while staying with his aunts family in Naples and he also began work on several history paintings, Alexander and Bucephalus and The Daughter of Jephthah in 1859–60, Sémiramis Building Babylon in 1860, and Young Spartans around 1860. In 1861 Degas visited his childhood friend Paul Valpinçon in Normandy and he exhibited at the Salon for the first time in 1865, when the jury accepted his painting Scene of War in the Middle Ages, which attracted little attention. The change in his art was influenced primarily by the example of Édouard Manet, upon the outbreak of the Franco-Prussian War in 1870, Degas enlisted in the National Guard, where his defense of Paris left him little time for painting. During rifle training his eyesight was found to be defective, after the war, Degas began in 1872 an extended stay in New Orleans, Louisiana, where his brother René and a number of other relatives lived. Staying at the home of his Creole uncle, Michel Musson, on Esplanade Avenue, Degas produced a number of works, many depicting family members. One of Degass New Orleans works, A Cotton Office in New Orleans, garnered favorable attention back in France, Degas returned to Paris in 1873 and his father died the following year, whereupon Degas learned that his brother René had amassed enormous business debts
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Armand Guillaumin
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Armand Guillaumin was a French impressionist painter and lithographer. Born Jean-Baptiste Armand Guillaumin in Paris, he worked at his uncles lingerie shop while attending evening drawing lessons and he also worked for a French government railway before studying at the Académie Suisse in 1861. There, he met Paul Cézanne and Camille Pissarro with whom he maintained lifelong friendships, while he never achieved the stature of these two, his influence on their work was significant. Cézanne attempted his first etching based on Guillaumin paintings of barges on the River Seine, Guillaumin exhibited at the Salon des Refusés in 1863. He participated in six of the eight Impressionist exhibitions,1874,1877,1880,1881,1882 and 1886, in 1886, he became a friend of Vincent van Gogh whose brother, Theo sold some of his works. He was finally able to quit his government job and concentrate on painting full-time in 1891, noted for their intense colours, Guillamins paintings are represented in major museums around the world. He is best remembered for his landscapes of Paris, the Creuse département, guillamin was called the leader of the École de Crozant, a diverse group of painters who came to depict the landscape in the region of the Creuse around the village of Crozant. One of these depictions, titled Landscape in Crozant, is housed in the Chicago Institute of Arts and his bust is in the square near the village church. Armand Guillaumin died in 1927 in Orly, Val-de-Marne just south of Paris, works by or about Armand Guillaumin at Internet Archive A biography of Armand Guillaumin. Www. armandguillaumin. org 260 works by Armand Guillaumin www. comiteguillaumin
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Berthe Morisot
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Berthe Marie Pauline Morisot was a painter and a member of the circle of painters in Paris who became known as the Impressionists. She was described by Gustave Geffroy in 1894 as one of les trois grandes dames of Impressionism alongside Marie Bracquemond, in 1864, she exhibited for the first time in the highly esteemed Salon de Paris. Sponsored by the government, and judged by Academicians, the Salon was the official, annual exhibition of the Académie des beaux-arts in Paris and it was held at the studio of the photographer Nadar. She was married to Eugène Manet, the brother of her friend, Morisot was born in Bourges, France, into an affluent bourgeois family. Her father, Edmé Tiburce Morisot, was the prefect of the department of Cher and he also studied architecture at École des Beaux Arts. Her mother, Marie-Joséphine-Cornélie Thomas, was the great-niece of Jean-Honoré Fragonard and she had two older sisters, Yves and Edma, plus a younger brother, Tiburce, born in 1848. The family moved to Paris in 1852, when Morisot was a child and it was common practice for daughters of bourgeois families to receive art education, so Berthe and her sisters Yves and Edma were taught privately by Geoffroy-Alphonse Chocarne and Joseph Guichard. Morisot and her sisters initially started taking lessons so that they could make a drawing for their father for his birthday. In 1857 Guichard, who ran a school for girls in Rue des Moulins, introduced Berthe and Edma to the Louvre gallery where they could learn by looking and he also introduced them to the works of Gavarni. Guichard later became the director of École des Beaux Arts where Morisots father earned his degree, as art students, Berthe and Edma worked closely together until Edma married Adolphe Pontillon, a naval officer, moved to Cherbourg, had children, and had less time to paint. Letters between the show a loving relationship, underscored by Berthes regret at the distance between them and Edmas withdrawal from painting. Edma wholeheartedly supported Berthes continued work and their families always remained close, Edma wrote “… I am often with you in thought, dear Berthe. I’m in your studio and I like to slip away, if only for a quarter of an hour and her sister Yves married Theodore Gobillard, a tax inspector, in 1866, and was painted by Edgar Degas as Mrs Theodore Gobillard. In 1860, under Corots influence she took up the plein air method of working, by 1863 she was studying under Achille Oudinot, another Barbizon painter. In the winter of 1863–64 she studied sculpture under Aimé Millet, Morisots first appearance in the Salon de Paris came at the age of twenty-three in 1864, with the acceptance of two landscape paintings. She continued to show regularly in the Salon, to favorable reviews, until 1873. She exhibited with the Impressionists from 1874 onwards, only missing the exhibition in 1878 when her daughter was born, Morisots mature career began in 1872. She found an audience for her work with Durand-Ruel, the private dealer, in 1877, she was described by the critic for Le Temps as the one real Impressionist in this group
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Camille Pissarro
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Camille Pissarro was a Danish-French Impressionist and Neo-Impressionist painter born on the island of St Thomas. His importance resides in his contributions to both Impressionism and Post-Impressionism, Pissarro studied from great forerunners, including Gustave Courbet and Jean-Baptiste-Camille Corot. He later studied and worked alongside Georges Seurat and Paul Signac when he took on the Neo-Impressionist style at the age of 54, in 1873 he helped establish a collective society of fifteen aspiring artists, becoming the pivotal figure in holding the group together and encouraging the other members. Cézanne said he was a father for me, a man to consult and a little like the good Lord, and he was also one of Gauguins masters. Renoir referred to his work as revolutionary, through his portrayals of the common man. Pissarro is the only artist to have shown his work at all eight Paris Impressionist exhibitions and he acted as a father figure not only to the Impressionists but to all four of the major Post-Impressionists, including Georges Seurat, Paul Cézanne, Vincent van Gogh and Paul Gauguin. Jacob Abraham Camille Pissarro was born on 10 July 1830 on the island of St. Thomas to Frederick and his father was of Portuguese Jewish descent and held French nationality. His mother was from a French-Jewish family from the island of St. Thomas and his father was a merchant who came to the island from France to deal with the hardware store of a deceased uncle and married his widow. The marriage caused a stir within St. Thomas small Jewish community because she was married to Fredericks uncle. In subsequent years his four children were forced to attend the primary school. Upon his death, his will specified that his estate be split equally between the synagogue and St. Thomas Protestant church, when Camille was twelve his father sent him to boarding school in France. He studied at the Savary Academy in Passy near Paris, while a young student, he developed an early appreciation of the French art masters. Monsieur Savary himself gave him a grounding in drawing and painting and suggested he draw from nature when he returned to St. Thomas. However, his father preferred he work in his business, giving him a job working as a cargo clerk and he took every opportunity during those next five years at the job to practise drawing during breaks and after work. When he turned twenty-one, Danish artist Fritz Melbye, then living on St. Thomas, inspired Pissarro to take on painting as a profession, becoming his teacher. Pissarro then chose to leave his family and job and live in Venezuela and he drew everything he could, including landscapes, village scenes, and numerous sketches, enough to fill up multiple sketchbooks. In 1855 he moved back to Paris where he working as assistant to Anton Melbye. In Paris he worked as assistant to Danish painter Anton Melbye and he also studied paintings by other artists whose style impressed him, Courbet, Charles-François Daubigny, Jean-François Millet, and Corot
