1.
Self-portrait
–
A self-portrait is a representation of an artist that is drawn, painted, photographed, or sculpted by that artist. With better and cheaper mirrors, and the advent of the panel portrait, Portrait of a Man in a Turban by Jan van Eyck of 1433 may well be the earliest known panel self-portrait. He painted a portrait of his wife, and he belonged to the social group that had begun to commission portraits. The genre is venerable, but not until the Renaissance, with increased wealth and interest in the individual as a subject, a self-portrait may be a portrait of the artist, or a portrait included in a larger work, including a group portrait. Many painters are said to have included depictions of specific individuals, including themselves, in these works, the artist usually appears as a face in the crowd or group, often towards the edges or corner of the work and behind the main participants. Rubenss The Four Philosophers is a good example and this culminated in the 17th century with the work of Jan de Bray. Many artistic media have used, apart from paintings, drawings. In the famous Arnolfini Portrait, Jan van Eyck is probably one of two figures glimpsed in a mirror – a surprisingly modern conceit. The Van Eyck painting may have inspired Diego Velázquez to depict himself in view as the painter creating Las Meninas, as the Van Eyck hung in the palace in Madrid where he worked. This was another modern flourish, given that he appears as the painter, in what may be one of the earliest childhood self-portraits now surviving, Albrecht Dürer depicts himself as in naturalistic style as a 13-year-old boy in 1484. In later years he appears variously as a merchant in the background of Biblical scenes, leonardo da Vinci may have drawn a picture of himself at the age of 60, in around 1512. The picture is often reproduced as Da Vincis appearance, although this is not certain. In the 17th century, Rembrandt painted a range of self-portraits, family and professional group paintings, including the artists depiction, became increasingly common from the 17th century on. From the later 20th century on, video plays a part in self-portraiture. Vigée-Lebrun painted a total of 37 self-portraits, many of which were copies of earlier ones, Women artists have historically embodied a number of roles within their self-portraiture. Most common is the artist at work, showing themselves in the act of painting, or at least holding a brush and palette. Often, the viewer if the clothes worn were those they normally painted in. Images of artists at work are encountered in Ancient Egyptian painting, one of the first self-portraits was made by the Pharaoh Akhenatens chief sculptor Bak in 1365 BC
Self-portrait
–
Raphael, c. 1517–1518,
Uffizi Gallery
Self-portrait
Self-portrait
–
Pieter Claesz, Vanitas with Violin and Glass Ball, the artist is visible in the reflection, 1625.
Self-portrait
–
Sandro Botticelli 's painting of the
Adoration of the Magi has an "inserted self-portrait". The position in the (right) corner, and the gaze out to the viewer, are very typical of such self-portraits.
2.
Art Institute of Chicago
–
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
Art Institute of Chicago
–
One of the two lion statues (Kemeys, bronze 1893) flanking the Institute's main entrances
Art Institute of Chicago
–
Seurat at the Art Institute
Art Institute of Chicago
–
Edward Hopper,
Nighthawks (1942)
Art Institute of Chicago
–
Mary Cassatt, The Bath 1891–1892
3.
Montpellier
–
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
Montpellier
–
Top to bottom, left to right: L'aqueduc Saint-Clément, la Place de l'Europe, la
Place de la Comédie, l'hôtel de région, la promenade du Peyrou, le
Corum, l'arc de Triomphe, la
cathédrale Saint Pierre.
Montpellier
–
Rue Foch with its typical 19th-century architecture.
Montpellier
–
Montpellier seen from Spot satellite
Montpellier
–
Celleneuve
4.
Languedoc-Roussillon
–
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
Languedoc-Roussillon
–
Landscape in
Lozère, Languedoc-Roussillon
Languedoc-Roussillon
–
Flag
Languedoc-Roussillon
–
Landscape in
Aude, Languedoc-Roussillon
Languedoc-Roussillon
–
Pont du Gard aqueduct near
Nîmes
5.
Beaune-la-Rolande
–
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
Beaune-la-Rolande
–
Church of Saint Martin
6.
Impressionism
–
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
Impressionism
–
Claude Monet,
Haystacks, (sunset), 1890–1891,
Museum of Fine Arts, Boston
Impressionism
–
Pierre-Auguste Renoir, Dance at Le Moulin de la Galette (
Bal du moulin de la Galette),
Musée d'Orsay, 1876
Impressionism
–
Édouard Manet,
The Luncheon on the Grass (Le déjeuner sur l'herbe), 1863
Impressionism
–
Alfred Sisley, View of the Saint-Martin Canal, Paris, 1870,
Musée d'Orsay
7.
France
–
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
France
–
One of the
Lascaux paintings: a horse –
Dordogne, approximately 18,000 BC
France
–
Flag
France
–
The
Maison Carrée was a temple of the
Gallo-Roman city of Nemausus (present-day
Nîmes) and is one of the best preserved vestiges of the
Roman Empire.
France
–
With
Clovis ' conversion to Catholicism in 498, the
Frankish monarchy,
elective and
secular until then, became
hereditary and of
divine right.
8.
Figure painting
–
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
Figure painting
–
The Golden Apple of Discord at the wedding of
Peleus and
Thetis,
Jacob Jordaens, 1633, 181 cm × 288 cm (71 in × 113 in), oil on canvas
Figure painting
Figure painting
Figure painting
9.
En plein air
–
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
En plein air
–
Painters gathered at
Slide Rock State Park,
Arizona, in 2006.
En plein air
–
Artist working en plein air, at
Pigeon Point Lighthouse in
California.
En plein air
–
En plein air painters painting in
Ringwood, New Jersey.
En plein air
–
Claude Monet Painting by the Edge of a Wood (1885) by
John Singer Sargent. Oil on canvas. 54.0 × 64.8 cm.
Tate Gallery, London.
10.
Paris
–
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
Paris
–
In the 1860s Paris streets and monuments were illuminated by 56,000 gas lamps, making it literally "The City of Light."
Paris
Paris
–
Gold coins minted by the Parisii (1st century BC)
Paris
–
The
Palais de la Cité and
Sainte-Chapelle, viewed from the Left Bank, from the
Très Riches Heures du duc de Berry (month of June) (1410)
11.
Pierre Auguste Renoir
–
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
Pierre Auguste Renoir
–
Pierre-Auguste Renoir
Pierre Auguste Renoir
–
The Theater Box, 1874,
Courtauld Institute Galleries, London
Pierre Auguste Renoir
–
Lise Sewing, 1866,
Dallas Museum of Art
Pierre Auguste Renoir
–
The Swing (La Balançoire), 1876, oil on canvas,
Musée d'Orsay, Paris
12.
Eduard Manet
–
Édouard Manet was a French painter. He was one of the first 19th-century artists to paint modern life, born into an upper-class household with strong political connections, Manet rejected the future originally envisioned for him, and became engrossed in the world of painting. His early masterworks, The Luncheon on the Grass and Olympia, today, these are considered watershed paintings that mark the genesis of modern art. Édouard Manet was born in Paris on 23 January 1832, in the ancestral hôtel particulier on the rue des Petits Augustins to an affluent and well-connected family. His mother, Eugénie-Desirée Fournier, was the daughter of a diplomat and goddaughter of the Swedish crown prince Charles Bernadotte and his father, Auguste Manet, was a French judge who expected Édouard to pursue a career in law. His uncle, Edmond Fournier, encouraged him to pursue painting, in 1841 he enrolled at secondary school, the Collège Rollin. In 1845, at the advice of his uncle, Manet enrolled in a course of drawing where he met Antonin Proust, future Minister of Fine Arts. At his fathers suggestion, in 1848 he sailed on a vessel to Rio de Janeiro. After he twice failed the examination to join the Navy, his father relented to his wishes to pursue an art education, from 1850 to 1856, Manet studied under the academic painter Thomas Couture. In his spare time, Manet copied the Old Masters in the Louvre, in 1856, Manet opened a studio. His style in this period was characterized by brush strokes, simplification of details. Adopting the current style of realism initiated by Gustave Courbet, he painted The Absinthe Drinker and other subjects such as beggars, singers, Gypsies, people in cafés. Manet had two canvases accepted at the Salon in 1861, a portrait of his mother and father, who at the time was paralysed and robbed of speech by a stroke, was ill received by critics. The other, The Spanish Singer, was admired by Theophile Gautier, Manets work, which appeared slightly slapdash when compared with the meticulous style of so many other Salon paintings, intrigued some young artists. The Spanish Singer, painted in a new fashion caused many painters eyes to open. Music in the Tuileries is an example of Manets painterly style. Inspired by Hals and Velázquez, it is a harbinger of his lifelong interest in the subject of leisure. While the picture was regarded as unfinished by some, the suggested atmosphere imparts a sense of what the Tuileries gardens were like at the time, one may imagine the music and conversation
Eduard Manet
–
portrait by
Nadar, 1874
Eduard Manet
–
Manet's portrait painted by
Fantin-Latour
Eduard Manet
–
Music in the Tuileries, 1862
Eduard Manet
–
The Luncheon on the Grass (Le déjeuner sur l'herbe), 1863
13.
Claude Monet
–
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
Claude Monet
–
Claude Monet, photo by
Nadar, 1899.
Claude Monet
–
Impression, Sunrise (Impression, soleil levant), 1872; the painting that gave its name to the style.
Musée Marmottan Monet, Paris
Claude Monet
–
The Woman in the Green Dress,
Camille Doncieux, 1866,
Kunsthalle Bremen
Claude Monet
–
Le déjeuner sur l'herbe, (right section), 1865–1866, with
Gustave Courbet,
Frédéric Bazille and Camille Doncieux, first wife of the artist,
Musée d'Orsay,
Paris
14.
Protestant
–
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
Protestant
–
(
The Ninety-Five Theses)
Protestant
–
The Memorial Church in
Speyer, Germany
Protestant
–
Key figures of the Protestant Reformation: Martin Luther and John Calvin depicted on a church
pulpit. These reformers emphasised preaching and made it a centerpiece of worship.
Protestant
–
The Bible translated into
vernacular by Martin Luther. The supreme authority of
scripture is a fundamental principle of Protestantism.
15.
Pierre-Auguste Renoir
–
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
Pierre-Auguste Renoir
–
Pierre-Auguste Renoir
Pierre-Auguste Renoir
–
The Theater Box, 1874,
Courtauld Institute Galleries, London
Pierre-Auguste Renoir
–
Lise Sewing, 1866,
Dallas Museum of Art
Pierre-Auguste Renoir
–
The Swing (La Balançoire), 1876, oil on canvas,
Musée d'Orsay, Paris
16.
Alfred Sisley
–
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
Alfred Sisley
–
Alfred Sisley: 1882
Alfred Sisley
–
Pierre-Auguste Renoir, Alfred Sisley and his wife
Alfred Sisley
–
Molesey Weir – Morning, one of the paintings executed by Sisley on his visit to Britain in 1874
Alfred Sisley
–
Rest along the Stream. Edge of the Wood, 1878,
Musée d'Orsay
17.
Charles Gleyre
–
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
Charles Gleyre
–
Self-portrait
Charles Gleyre
–
Egyptian Temple, 1840
Charles Gleyre
–
Romans Under the Yoke (1858)
Charles Gleyre
–
This painting,
Lost Illusions, was started by Gleyre's student, Léon Dussart, and reworked by Gleyre himself. It is a replica of his masterpiece "Le Soir".
The Walters Art Museum
18.
Zouave
–
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
Zouave
–
French zouave during the
Crimean war; painting by
Aleksander Raczyński (1858)
Zouave
–
A French zouave from 1888 wearing white summer serouel instead of the usual red
Zouave
–
French Zouaves in the First World War
Zouave
–
Commandos de Chasse of the 4th Zouave regiment serving in Algeria, between 1960 and 1962
19.
Franco-Prussian War
–
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
Franco-Prussian War
–
Clockwise from top left: Prussian infantry at the
Battle of Spicheren;
Jeanniot 's 1886 La ligne de feu (
Battle of Mars-La-Tour);
Werner 's depiction of the
capitulation of Sedan;
Neuville 's 1873 Les dernières cartouches (
Battle of Bazeilles).
Franco-Prussian War
–
A French
mitrailleuse in the
Bundeswehr Military History Museum
Franco-Prussian War
–
French reservists responding to the call.
Franco-Prussian War
–
Map of German and French armies near their common border on 31 July 1870
20.
Battle of Beaune-la-Rolande
–
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
Battle of Beaune-la-Rolande
–
A near-contemporary depiction of the battle
Battle of Beaune-la-Rolande
–
Prussian troops barricading the streets of Beaune-la-Rolande
Battle of Beaune-la-Rolande
–
An engraving depicting French troops at the battle
Battle of Beaune-la-Rolande
–
An
ossuary containing the remains of 402 French soldiers killed at Beaune-la-Rolande
21.
Aigues-Mortes
–
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
Aigues-Mortes
–
City walls
Aigues-Mortes
Aigues-Mortes
–
Louis IX on a ship departing from Aigues-Mortes, for the
Seventh Crusade
Aigues-Mortes
–
Map of Aigues-Mortes and its access to the sea
22.
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
Cambridge, Massachusetts
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Clockwise from top left:
Christ Church,
University Hall at
Harvard University,
Ray and Maria Stata Center at the
Massachusetts Institute of Technology, the Cambridge skyline and
Charles River at night, and
Cambridge City Hall.
Cambridge, Massachusetts
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George Washington in Cambridge, 1775
Cambridge, Massachusetts
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A map of Cambridge from 1873
Cambridge, Massachusetts
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1852 Map of Boston area showing Cambridge and regional rail lines and highlighting the course of the
Middlesex Canal. Cambridge is toward the bottom of the map and outlined in yellow, and should not be confused with the pink-outlined and partially cropped "West Cambridge", now
Arlington.
23.
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
Harvard University
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Engraving of
Harvard College by
Paul Revere, 1767
Harvard University
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Harvard University
Harvard University
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John Harvard statue,
Harvard Yard
Harvard University
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Richard Rummell's 1906 watercolor landscape view, facing northeast.
24.
The Minneapolis Institute of Arts
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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
The Minneapolis Institute of Arts
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Minneapolis Institute of Art
The Minneapolis Institute of Arts
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Rembrandt 's Lucretia in Minneapolis and the version from the
National Gallery of Art in Washington D.C. were shown together in 1991–1992.
The Minneapolis Institute of Arts
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An exhibit inside one of the many galleries at Mia
The Minneapolis Institute of Arts
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Fernand Léger, 1910-11, Le compotier (Table and Fruit), oil on canvas, 82.2 x 97.8 cm
25.
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
Minneapolis
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Clockwise from top:
Downtown Minneapolis,
Downtown,
TCF Bank Stadium, the
Guthrie Theater,
Minnehaha Falls, and
First Avenue and 7th St Entry nightclub
Minneapolis
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Taoyateduta was among the 121
Sioux leaders who from 1837 to 1851 ceded what is now Minneapolis.
Minneapolis
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Loading
flour,
Pillsbury, 1939
Minneapolis
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Mississippi riverfront and
Saint Anthony Falls in 1915. At left,
Pillsbury, power plants and the
Stone Arch Bridge. Today the
Minnesota Historical Society 's Mill City Museum is in the
Washburn "A" Mill, across the river just to the left of the falls. At center left are
Northwestern Consolidated mills. The tall building is
Minneapolis City Hall. In the right foreground are
Nicollet Island and the
Hennepin Avenue Bridge.
26.
Fogg Art Museum
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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
Fogg Art Museum
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Fogg Art Museum
Fogg Art Museum
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Fogg Museum of Art
Fogg Art Museum
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Titian, Rustic Idyll, 1507-1508
Fogg Art Museum
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Nicolas Poussin, Holy Family, 1645-1650
