Ferdinand Victor Eugène Delacroix was a French Romantic artist regarded from the outset of his career as the leader of the French Romantic school. As a painter and muralist, Delacroix's use of expressive brushstrokes and his study of the optical effects of colour profoundly shaped the work of the Impressionists, while his passion for the exotic inspired the artists of the Symbolist movement. A fine lithographer, Delacroix illustrated various works of William Shakespeare, the Scottish author Walter Scott and the German author Johann Wolfgang von Goethe. In contrast to the Neoclassical perfectionism of his chief rival Ingres, Delacroix took for his inspiration the art of Rubens and painters of the Venetian Renaissance, with an attendant emphasis on colour and movement rather than clarity of outline and modelled form. Dramatic and romantic content characterized the central themes of his maturity, led him not to the classical models of Greek and Roman art, but to travel in North Africa, in search of the exotic.
Friend and spiritual heir to Théodore Géricault, Delacroix was inspired by Lord Byron, with whom he shared a strong identification with the "forces of the sublime", of nature in violent action. However, Delacroix was given to neither sentimentality nor bombast, his Romanticism was that of an individualist. In the words of Baudelaire, "Delacroix was passionately in love with passion, but coldly determined to express passion as as possible." Together with Ingres, Delacroix is considered one of the last old Masters of painting, one of the few, photographed. Eugène Delacroix was born on 26 April 1798 at Charenton-Saint-Maurice near Paris, his mother was named the daughter of the cabinet-maker Jean-François Oeben. He had three much older siblings. Charles-Henri Delacroix rose to the rank of General in the Napoleonic army. Henriette married the diplomat Raymond de Verninac Saint-Maur. Henri was born six years later, he was killed at the Battle of Friedland on 14 June 1807. There are medical reasons to believe that Eugène's legitimate father, Charles-François Delacroix, was not able to procreate at the time of Eugène's conception.
Talleyrand, a friend of the family and successor of Charles Delacroix as Minister of Foreign Affairs, whom the adult Eugène resembled in appearance and character, considered himself as his real father. Throughout his career as a painter, he was protected by Talleyrand, who served successively the Restoration and king Louis-Philippe, as ambassador of France in Great Britain, by Talleyrand's grandson, Charles Auguste Louis Joseph, duc de Morny, half-brother of Napoleon III and speaker of the French House of Commons, his legitimate father, Charles Delacroix, died in 1805, his mother in 1814, leaving 16-year-old Eugène an orphan. His early education was at the Lycée Louis-le-Grand, at the Lycée Pierre Corneille in Rouen where he steeped himself in the classics and won awards for drawing. In 1815 he began his training with Pierre-Narcisse Guérin in the neoclassical style of Jacques-Louis David. An early church commission, The Virgin of the Harvest, displays a Raphael-esque influence, but another such commission, The Virgin of the Sacred Heart, evidences a freer interpretation.
It precedes the influence of the more colourful and rich style of the Flemish Baroque painter Peter Paul Rubens, fellow French artist Théodore Géricault, whose works marked an introduction to Romanticism in art. The impact of Géricault's The Raft of the Medusa was profound, stimulated Delacroix to produce his first major painting, The Barque of Dante, accepted by the Paris Salon in 1822; the work caused a sensation, was derided by the public and officialdom, yet was purchased by the State for the Luxembourg Galleries. Two years he again achieved popular success for his The Massacre at Chios. Delacroix's painting of the massacre at Chios shows sick, dying Greek civilians about to be slaughtered by the Turks. One of several paintings he made of this contemporary event, expressed the official policy for the Greek cause in their war of independence against the Turks, war sustained by English and French governments. Delacroix was recognized by the authorities as a leading painter in the new Romantic style, the picture was bought by the state.
His depiction of suffering was controversial, however, as there was no glorious event taking place, no patriots raising their swords in valour as in David's Oath of the Horatii, only a disaster. Many critics deplored the painting's despairing tone; the pathos in the depiction of an infant clutching its dead mother's breast had an powerful effect, although this detail was condemned as unfit for art by Delacroix's critics. A viewing of the paintings of John Constable and the watercolour sketches and art of Richard Parkes Bonnington prompted Delacroix to make extensive painted changes to the sky and distant landscape. Delacroix produced a second painting in support of the Greeks in their war for independence, this time referring to the capture of Missolonghi by Turkish forces in 1825. With a restraint of palette appropriate to the allegory, Greece Expiring on the Ruins of Missolonghi displays a woman in Greek costume with her breast bared, arms half-raised in an imploring gesture before the horrible scene: the suicide of the Greeks, who chose to kill themselves and destroy their city rather than surrender to the Turks.
A hand is seen at the bottom, the body having be
The public domain consists of all the creative works to which no exclusive intellectual property rights apply. Those rights may have been forfeited, expressly waived, or may be inapplicable; the works of William Shakespeare and Beethoven, most early silent films, are in the public domain either by virtue of their having been created before copyright existed, or by their copyright term having expired. Some works are not covered by copyright, are therefore in the public domain—among them the formulae of Newtonian physics, cooking recipes, all computer software created prior to 1974. Other works are dedicated by their authors to the public domain; the term public domain is not applied to situations where the creator of a work retains residual rights, in which case use of the work is referred to as "under license" or "with permission". As rights vary by country and jurisdiction, a work may be subject to rights in one country and be in the public domain in another; some rights depend on registrations on a country-by-country basis, the absence of registration in a particular country, if required, gives rise to public-domain status for a work in that country.
The term public domain may be interchangeably used with other imprecise or undefined terms such as the "public sphere" or "commons", including concepts such as the "commons of the mind", the "intellectual commons", the "information commons". Although the term "domain" did not come into use until the mid-18th century, the concept "can be traced back to the ancient Roman Law, as a preset system included in the property right system." The Romans had a large proprietary rights system where they defined "many things that cannot be owned" as res nullius, res communes, res publicae and res universitatis. The term res nullius was defined as things not yet appropriated; the term res communes was defined as "things that could be enjoyed by mankind, such as air and ocean." The term res publicae referred to things that were shared by all citizens, the term res universitatis meant things that were owned by the municipalities of Rome. When looking at it from a historical perspective, one could say the construction of the idea of "public domain" sprouted from the concepts of res communes, res publicae, res universitatis in early Roman law.
When the first early copyright law was first established in Britain with the Statute of Anne in 1710, public domain did not appear. However, similar concepts were developed by French jurists in the 18th century. Instead of "public domain", they used terms such as publici juris or propriété publique to describe works that were not covered by copyright law; the phrase "fall in the public domain" can be traced to mid-19th century France to describe the end of copyright term. The French poet Alfred de Vigny equated the expiration of copyright with a work falling "into the sink hole of public domain" and if the public domain receives any attention from intellectual property lawyers it is still treated as little more than that, left when intellectual property rights, such as copyright and trademarks, expire or are abandoned. In this historical context Paul Torremans describes copyright as a, "little coral reef of private right jutting up from the ocean of the public domain." Copyright law differs by country, the American legal scholar Pamela Samuelson has described the public domain as being "different sizes at different times in different countries".
Definitions of the boundaries of the public domain in relation to copyright, or intellectual property more regard the public domain as a negative space. According to James Boyle this definition underlines common usage of the term public domain and equates the public domain to public property and works in copyright to private property. However, the usage of the term public domain can be more granular, including for example uses of works in copyright permitted by copyright exceptions; such a definition regards work in copyright as private property subject to fair-use rights and limitation on ownership. A conceptual definition comes from Lange, who focused on what the public domain should be: "it should be a place of sanctuary for individual creative expression, a sanctuary conferring affirmative protection against the forces of private appropriation that threatened such expression". Patterson and Lindberg described the public domain not as a "territory", but rather as a concept: "here are certain materials – the air we breathe, rain, life, thoughts, ideas, numbers – not subject to private ownership.
The materials that compose our cultural heritage must be free for all living to use no less than matter necessary for biological survival." The term public domain may be interchangeably used with other imprecise or undefined terms such as the "public sphere" or "commons", including concepts such as the "commons of the mind", the "intellectual commons", the "information commons". A public-domain book is a book with no copyright, a book, created without a license, or a book where its copyrights expired or have been forfeited. In most countries the term of protection of copyright lasts until January first, 70 years after the death of the latest living author; the longest copyright term is in Mexico, which has life plus 100 years for all deaths since July 1928. A notable exception is the United States, where every book and tale published prior to 1924 is in the public domain.
Wilhelm Richard Wagner was a German composer, theatre director and conductor, chiefly known for his operas. Unlike most opera composers, Wagner wrote both the libretto and the music for each of his stage works. Establishing his reputation as a composer of works in the romantic vein of Carl Maria von Weber and Giacomo Meyerbeer, Wagner revolutionised opera through his concept of the Gesamtkunstwerk, by which he sought to synthesise the poetic, visual and dramatic arts, with music subsidiary to drama, he described this vision in a series of essays published between 1849 and 1852. Wagner realised these ideas most in the first half of the four-opera cycle Der Ring des Nibelungen, his compositions those of his period, are notable for their complex textures, rich harmonies and orchestration, the elaborate use of leitmotifs—musical phrases associated with individual characters, ideas, or plot elements. His advances in musical language, such as extreme chromaticism and shifting tonal centres influenced the development of classical music.
His Tristan und Isolde is sometimes described as marking the start of modern music. Wagner had his own opera house built, the Bayreuth Festspielhaus, which embodied many novel design features; the Ring and Parsifal were premiered here and his most important stage works continue to be performed at the annual Bayreuth Festival, run by his descendants. His thoughts on the relative contributions of music and drama in opera were to change again, he reintroduced some traditional forms into his last few stage works, including Die Meistersinger von Nürnberg; until his final years, Wagner's life was characterised by political exile, turbulent love affairs and repeated flight from his creditors. His controversial writings on music and politics have attracted extensive comment, since the late 20th century, where they express antisemitic sentiments; the effect of his ideas can be traced in many of the arts throughout the 20th century. Richard Wagner was born to an ethnic German family in Leipzig, who lived at No 3, the Brühl in the Jewish quarter.
He was baptized at St. Thomas Church, he was the ninth child of Carl Friedrich Wagner, a clerk in the Leipzig police service, his wife, Johanna Rosine, the daughter of a baker. Wagner's father Carl died of typhus six months after Richard's birth. Afterwards his mother Johanna lived with the actor and playwright Ludwig Geyer. In August 1814 Johanna and Geyer married—although no documentation of this has been found in the Leipzig church registers, she and her family moved to Geyer's residence in Dresden. Until he was fourteen, Wagner was known as Wilhelm Richard Geyer, he certainly thought that Geyer was his biological father. Geyer's love of the theatre came to be shared by his stepson, Wagner took part in his performances. In his autobiography Mein Leben Wagner recalled once playing the part of an angel. In late 1820, Wagner was enrolled at Pastor Wetzel's school at Possendorf, near Dresden, where he received some piano instruction from his Latin teacher, he struggled to play a proper scale at preferred playing theatre overtures by ear.
Following Geyer's death in 1821, Richard was sent to the Kreuzschule, the boarding school of the Dresdner Kreuzchor, at the expense of Geyer's brother. At the age of nine he was hugely impressed by the Gothic elements of Carl Maria von Weber's opera Der Freischütz, which he saw Weber conduct. At this period Wagner entertained ambitions as a playwright, his first creative effort, listed in the Wagner-Werk-Verzeichnis as WWV 1, was a tragedy called Leubald. Begun when he was in school in 1826, the play was influenced by Shakespeare and Goethe. Wagner was determined to set it to music, persuaded his family to allow him music lessons. By 1827, the family had returned to Leipzig. Wagner's first lessons in harmony were taken during 1828–31 with Christian Gottlieb Müller. In January 1828 he first heard Beethoven's 7th Symphony and in March, the same composer's 9th Symphony. Beethoven became a major inspiration, Wagner wrote a piano transcription of the 9th Symphony, he was greatly impressed by a performance of Mozart's Requiem.
Wagner's early piano sonatas and his first attempts at orchestral overtures date from this period. In 1829 he saw a performance by dramatic soprano Wilhelmine Schröder-Devrient, she became his ideal of the fusion of drama and music in opera. In Mein Leben, Wagner wrote, "When I look back across my entire life I find no event to place beside this in the impression it produced on me," and claimed that the "profoundly human and ecstatic performance of this incomparable artist" kindled in him an "almost demonic fire."In 1831, Wagner enrolled at the Leipzig University, where he became a member of the Saxon student fraternity. He took composition lessons with the Thomaskantor Theodor Weinlig. Weinlig was so impressed with Wagner's musical ability, he arranged for his pupil's Piano Sonata in B-flat major to be published as Wagner's Op. 1. A year Wagner composed his Symphony in C major, a Beethovenesque work performed in Prague in 1832 and at the Leipzig Gewandhaus in 1833, he began to work on an opera, Die Hochzeit, which he never
The Bastille was a fortress in Paris, known formally as the Bastille Saint-Antoine. It played an important role in the internal conflicts of France and for most of its history was used as a state prison by the kings of France, it was stormed by a crowd on 14 July 1789, in the French Revolution, becoming an important symbol for the French Republican movement, was demolished and replaced by the Place de la Bastille. The Bastille was built to defend the eastern approach to the city of Paris from the English threat in the Hundred Years' War. Initial work began in 1357, but the main construction occurred from 1370 onwards, creating a strong fortress with eight towers that protected the strategic gateway of the Porte Saint-Antoine on the eastern edge of Paris; the innovative design proved influential in both France and England and was copied. The Bastille figured prominently in France's domestic conflicts, including the fighting between the rival factions of the Burgundians and the Armagnacs in the 15th century, the Wars of Religion in the 16th.
The fortress was declared a state prison in 1417. The defences of the Bastille were fortified in response to the English and Imperial threat during the 1550s, with a bastion constructed to the east of the fortress; the Bastille played a key role in the rebellion of the Fronde and the battle of the faubourg Saint-Antoine, fought beneath its walls in 1652. Louis XIV used the Bastille as a prison for upper-class members of French society who had opposed or angered him including, after the revocation of the Edict of Nantes, French Protestants. From 1659 onwards, the Bastille functioned as a state penitentiary. Under Louis XV and XVI, the Bastille was used to detain prisoners from more varied backgrounds, to support the operations of the Parisian police in enforcing government censorship of the printed media. Although inmates were kept in good conditions, criticism of the Bastille grew during the 18th century, fueled by autobiographies written by former prisoners. Reforms were implemented and prisoner numbers were reduced.
In 1789 the royal government's financial crisis and the formation of the National Assembly gave rise to a swelling of republican sentiments among city-dwellers. On 14 July the Bastille was stormed by a revolutionary crowd residents of the faubourg Saint-Antoine who sought to commandeer the valuable gunpowder held within the fortress. Seven remaining prisoners were found and released and the Bastille's governor, Bernard-René de Launay, was killed by the crowd; the Bastille was demolished by order of the Committee of the Hôtel de Ville. Souvenirs of the fortress were transported around France and displayed as icons of the overthrow of despotism. Over the next century, the site and historical legacy of the Bastille featured prominently in French revolutions, political protests and popular fiction, it remained an important symbol for the French Republican movement. Nothing is left of the Bastille except some remains of its stone foundation that were relocated to the side of Boulevard Henri IV. Historians were critical of the Bastille in the early 19th century, believe the fortress to have been a well-administered institution, but implicated in the system of French policing and political control during the 18th century.
The Bastille was built in response to a threat to Paris during the Hundred Years' War between England and France. Prior to the Bastille, the main royal castle in Paris was the Louvre, in the west of the capital, but the city had expanded by the middle of the 14th century and the eastern side was now exposed to an English attack; the situation worsened after the imprisonment of John II in England following the French defeat at the battle of Poitiers, in his absence the Provost of Paris, Étienne Marcel, took steps to improve the capital's defences. In 1357, Marcel expanded the city walls and protected the Porte Saint-Antoine with two high stone towers and a 78-foot-wide ditch. A fortified gateway of this sort was called a "bastille", was one of two created in Paris, the other being built outside the Porte Saint-Denis. Marcel was subsequently removed from his post and executed in 1358. In 1369, Charles V became concerned about the weakness of the eastern side of the city to English attacks and raids by mercenaries.
Charles instructed Hugh Aubriot, the new provost, to build a much larger fortification on the same site as Marcel's bastille. Work began in 1370 with another pair of towers being built behind the first bastille, followed by two towers to the north, two towers to the south; the fortress was not finished by the time Charles died in 1380, was completed by his son, Charles VI. The resulting structure became known as the Bastille, with the eight irregularly built towers and linking curtain walls forming a structure 223 feet wide and 121 feet deep, the walls and towers 78 feet high and 10 feet thick at their bases. Built to the same height, the roofs of the towers and the tops of the walls formed a broad, crenellated walkway all the way around the fortress; each of the six newer towers had underground "cachots", or dungeons, at its base, curved "calotte" "shell", rooms in their roofs. Garrisoned by a captain, a knight, eight squires and ten crossbowmen, the Bastille was encircled with ditches fed by the River Seine, faced with stone.
The fortress had four sets of drawbridges, which allowed the Rue Saint-Antoine to pass eastwards through the Bastille's gates while giving easy access to the city walls on the
Kingdom of France
The Kingdom of France was a medieval and early modern monarchy in Western Europe. It was one of the most powerful states in Europe and a great power since the Late Middle Ages and the Hundred Years' War, it was an early colonial power, with possessions around the world. France originated as West Francia, the western half of the Carolingian Empire, with the Treaty of Verdun. A branch of the Carolingian dynasty continued to rule until 987, when Hugh Capet was elected king and founded the Capetian dynasty; the territory remained known as Francia and its ruler as rex Francorum well into the High Middle Ages. The first king calling himself Roi de France was Philip II, in 1190. France continued to be ruled by the Capetians and their cadet lines—the Valois and Bourbon—until the monarchy was overthrown in 1792 during the French Revolution. France in the Middle Ages was a feudal monarchy. In Brittany and Catalonia the authority of the French king was felt. Lorraine and Provence were states of the Holy Roman Empire and not yet a part of France.
West Frankish kings were elected by the secular and ecclesiastic magnates, but the regular coronation of the eldest son of the reigning king during his father's lifetime established the principle of male primogeniture, which became codified in the Salic law. During the Late Middle Ages, the Kings of England laid claim to the French throne, resulting in a series of conflicts known as the Hundred Years' War. Subsequently, France sought to extend its influence into Italy, but was defeated by Spain in the ensuing Italian Wars. France in the early modern era was centralised. Religiously France became divided between the Catholic majority and a Protestant minority, the Huguenots, which led to a series of civil wars, the Wars of Religion. France laid claim to large stretches of North America, known collectively as New France. Wars with Great Britain led to the loss of much of this territory by 1763. French intervention in the American Revolutionary War helped secure the independence of the new United States of America but was costly and achieved little for France.
The Kingdom of France adopted a written constitution in 1791, but the Kingdom was abolished a year and replaced with the First French Republic. The monarchy was restored by the other great powers in 1814 and lasted until the French Revolution of 1848. During the years of the elderly Charlemagne's rule, the Vikings made advances along the northern and western perimeters of the Kingdom of the Franks. After Charlemagne's death in 814 his heirs were incapable of maintaining political unity and the empire began to crumble; the Treaty of Verdun of 843 divided the Carolingian Empire into three parts, with Charles the Bald ruling over West Francia, the nucleus of what would develop into the kingdom of France. Charles the Bald was crowned King of Lotharingia after the death of Lothair II in 869, but in the Treaty of Meerssen was forced to cede much of Lotharingia to his brothers, retaining the Rhone and Meuse basins but leaving the Rhineland with Aachen and Trier in East Francia. Viking advances were allowed to increase, their dreaded longships were sailing up the Loire and Seine rivers and other inland waterways, wreaking havoc and spreading terror.
During the reign of Charles the Simple, Normans under Rollo from Norway, were settled in an area on either side of the River Seine, downstream from Paris, to become Normandy. The Carolingians were to share the fate of their predecessors: after an intermittent power struggle between the two dynasties, the accession in 987 of Hugh Capet, Duke of France and Count of Paris, established the Capetian dynasty on the throne. With its offshoots, the houses of Valois and Bourbon, it was to rule France for more than 800 years; the old order left the new dynasty in immediate control of little beyond the middle Seine and adjacent territories, while powerful territorial lords such as the 10th- and 11th-century counts of Blois accumulated large domains of their own through marriage and through private arrangements with lesser nobles for protection and support. The area around the lower Seine became a source of particular concern when Duke William took possession of the kingdom of England by the Norman Conquest of 1066, making himself and his heirs the King's equal outside France.
Henry II inherited the Duchy of Normandy and the County of Anjou, married France's newly divorced ex-queen, Eleanor of Aquitaine, who ruled much of southwest France, in 1152. After defeating a revolt led by Eleanor and three of their four sons, Henry had Eleanor imprisoned, made the Duke of Brittany his vassal, in effect ruled the western half of France as a greater power than the French throne. However, disputes among Henry's descendants over the division of his French territories, coupled with John of England's lengthy quarrel with Philip II, allowed Philip II to recover influence over most of this territory. After the French victory at the Battle of Bouvines in 1214, the English monarchs maintained power only in southwestern Duchy of Guyenne; the death of Charles IV of France in 1328 without male heirs ended the main Capetian line. Under Salic law the crown could not pass through a woman (Philip IV's daughter