1.
Gustaf Lundberg
–
Gustaf Lundberg was a Swedish rococo pastelist and portrait painter, working in Paris and later in Stockholm. Lundberg was born in Stockholm 17 August 1695, son of royal chef Gustaf Lundberg and his wife Sabina Richter, whose family included successful artists, orphaned at an early age, he was raised by his uncle, Fredrik Richter, who was himself a goldsmith. Lundberg was later apprenticed to the painter David von Krafft in 1712, in 1717, Lundberg traveled to Paris, where he studied with Hyacinthe Rigaud, Nicolas de Largillière and Jean François de Troy. The determining influence was the Venetian painter Rosalba Carriera, who lived in Paris from 1720 to 1721, afterwards, Lundberg established himself as one of the leading portrait painters in Paris. He painted Louis XV and his Queen Maria Leszczyńska, and the Queens parents, deposed King Stanisław Leszczyński and his spouse, in addition to his many portraits of French and Swedish aristocracy, he is known for his paintings of colleagues Charles-Joseph Natoire and François Boucher. In 1741, Lundberg was elected a member of the Académie royale de peinture et de sculpture or Royal Academy of Painting, but his popularity started to wane soon after, a result of new pastelists representing a more realistic style than his. During 1745 he traveled through Spain and Portugal, stopping in Madrid to paint Louis XVs daughter Louise-Élisabeth, who was married to Philip, traveling via Cadiz and Lisbon, he returned to Sweden by boat in the autumn. An already successful artist, he established himself as the leading rococo painter in Sweden. Thanks to his friendship with Tessin, he was introduced at the Royal Court. In Sweden, Lundbergs light and elegant style was a break from the Baroque style of portraiture that had previously predominated, in 1750, he was appointed court portrait painter or hovkonterfejare. He painted many portraits of the Crown Prince, later King Gustav III, towards the end of his career, he painted a portrait of the young Crown Prince Gustav Adolf in 1779. References Sources Lundberg, Gunnar W. Lundberg, Gustaf, Svenskt biografiskt lexikon,24, media related to Gustaf Lundberg at Wikimedia Commons
Gustaf Lundberg
–
Gustaf Lundberg, self-portrait (copy by Jacob Björck)
Gustaf Lundberg
–
Marie-Anne de Bourbon-Condé (1697–1741) Copy, oil on canvas after
Jean-Baptiste Santerre 1720.
Gustaf Lundberg
–
Portrait of
Louis XV of France, end of the 1730s. Pastel copy.
Gustaf Lundberg
–
Portrait of the artist
François Boucher, for the French academy 1741. Pastel.
2.
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)
3.
Painting
–
Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
Painting
–
The
Mona Lisa, by
Leonardo da Vinci, is one of the most recognizable paintings in the world.
Painting
–
Chen Hongshou (1598–1652), Leaf album painting (
Ming Dynasty)
Painting
–
Circus Sideshow (
French: Parade de cirque),
Georges Seurat, 1887–88
Painting
–
Cave painting of aurochs, (
French: Bos primigenius primigenius),
Lascaux,
France,
prehistoric art
4.
Rococo
–
Rococo artists and architects used a more jocular, florid, and graceful approach to the Baroque. Their style was ornate and used light colours, asymmetrical designs, curves, unlike the political Baroque, the Rococo had playful and witty themes. By the end of the 18th century, Rococo was largely replaced by the Neoclassic style. In 1835 the Dictionary of the French Academy stated that the word Rococo usually covers the kind of ornament, style and design associated with Louis XVs reign and it includes therefore, all types of art from around the middle of the 18th century in France. The word is seen as a combination of the French rocaille and coquilles, the term may also be a combination of the Italian word barocco and the French rocaille and may describe the refined and fanciful style that became fashionable in parts of Europe in the 18th century. The Rococo love of shell-like curves and focus on decorative arts led some critics to say that the style was frivolous or merely modish, when the term was first used in English in about 1836, it was a colloquialism meaning old-fashioned. While there is some debate about the historical significance of the style to art in general. Italian architects of the late Baroque/early Rococo were wooed to Catholic Germany, Bohemia and Austria by local princes, an exotic but in some ways more formal type of Rococo appeared in France where Louis XIVs succession brought a change in the court artists and general artistic fashion. By the end of the long reign, rich Baroque designs were giving way to lighter elements with more curves. These elements are obvious in the designs of Nicolas Pineau. During the Régence, court life moved away from Versailles and this change became well established, first in the royal palace. The delicacy and playfulness of Rococo designs is seen as perfectly in tune with the excesses of Louis XVs reign. The 1730s represented the height of Rococo development in France, the style had spread beyond architecture and furniture to painting and sculpture, exemplified by the works of Antoine Watteau and François Boucher. The Rococo style was spread by French artists and engraved publications, william Hogarth helped develop a theoretical foundation for Rococo beauty. Though not intentionally referencing the movement, he argued in his Analysis of Beauty that the lines and S-curves prominent in Rococo were the basis for grace. The development of Rococo in Great Britain is considered to have connected with the revival of interest in Gothic architecture early in the 18th century. The beginning of the end for Rococo came in the early 1760s as figures like Voltaire and Jacques-François Blondel began to voice their criticism of the superficiality, Blondel decried the ridiculous jumble of shells, dragons, reeds, palm-trees and plants in contemporary interiors. By 1785, Rococo had passed out of fashion in France, replaced by the order, in Germany, late 18th century Rococo was ridiculed as Zopf und Perücke, and this phase is sometimes referred to as Zopfstil
Rococo
–
Pair of lovers group of
Nymphenburg porcelain, c. 1760, modelled by
Franz Anton Bustelli
Rococo
–
The Rococo
Basilica at Ottobeuren (Bavaria): architectural spaces flow together and swarm with life.
Rococo
–
Rococo-style
House of the Good Shepherd in
Bratislava (
Slovakia) - an example of the 18th century
bourgeoisie house.
Rococo
–
François Boucher, Le Déjeuner, (1739,
Louvre), shows a rocaille interior of a French bourgeois family in the 18th century. The porcelain statuette and vase add a touch of
chinoiserie.
5.
Pastoral
–
A pastoral lifestyle is that of shepherds herding livestock around open areas of land according to seasons and the changing availability of water and pasture. It lends its name to a genre of literature, art, a pastoral is a work of this genre, also known as bucolic, from the Greek βουκολικόν, from βουκόλος, meaning a cowherd. Pastoral is a mode of literature in which the author employs various techniques to place the life into a simple one. Thus, pastoral as a mode occurs in many types of literature as well as genres, terry Gifford, a prominent literary theorist, defines pastoral in three ways in his critical book Pastoral. The first way emphasizes the historical perspective of the pastoral in which authors recognize and discuss life in the country. This is summed up by Leo Marx with the phrase No shepherd, the second type of the pastoral is literature that describes the country with an implicit or explicit contrast to the urban. The third type of pastoral depicts the life with derogative classifications. Hesiods Works and Days presents a golden age when people lived together in harmony with nature and this Golden Age shows that even before Alexandria, ancient Greeks had sentiments of an ideal pastoral life that they had already lost. This is the first example of literature that has pastoral sentiments, ovids Metamorphoses is much like the Works and Days with the description of ages but with more ages to discuss and less emphasis on the gods and their punishments. In this artificially constructed world, nature acts as the main punisher, another example of this perfect relationship between man and nature is evident in the encounter of a shepherd and a goatherd who meet in the pastures in Theocritus poem Idylls 1. Traditionally, pastoral refers to the lives of herdsmen in a romanticized, exaggerated, the pastoral life is usually characterized as being closer to the Golden age than the rest of human life. The setting is a Locus Amoenus, or a place in nature. An example of the use of the genre is the poem by the 15th-century Scottish makar Robert Henryson Robene and Makyne which also contains the conflicted emotions often present in the genre. There will we sit upon the rocks And see the shepherds feed their flocks, By shallow rivers, the Passionate Shepherd to His Love exhibits the concept of Giffords second definition of pastoral. The speaker of the poem, who is the titled shepherd and this can be seen in the listed items, lined slippers, purest gold, silver dishes, and ivory table. The speaker takes on a point of view with his love. Pastoral shepherds and maidens usually have Greek names like Corydon or Philomela and this makes them available for embodying perpetual erotic fantasies. The shepherds spend their time chasing pretty girls — or, at least in the Greek and Roman versions, Pastoral literature continued after Hesiod with the poetry of the Hellenistic Greek Theocritus, several of whose Idylls are set in the countryside and involve dialogues between herdsmen
Pastoral
–
Alvan Fisher, Pastoral Landscape, 1854
Pastoral
–
Georgics Book III, Shepherd with Flocks,
Vergil (
Vatican Library)
Pastoral
–
Romantic artist, illustrator and poet William Blake's hand painted print illustrating his pastoral poem "
The Shepherd " depicts the pastoral scene of a shepherd watching his flock with a shepherd's crook. This image represents copy B, printed and painted in 1789 and currently held by the
Library of Congress.
Pastoral
–
A Pastoral (watercolour, 1905) by
John Reinhard Weguelin
6.
Madame de Pompadour
–
She took charge of the king’s schedule and was a valued aide and advisor, despite her frail health and many political enemies. She secured titles of nobility for herself and her relatives, and built a network of clients and she was particularly careful not to alienate the Queen, Marie Leszczyńska. On February 8,1756, the Marquise de Pompadour was named as the lady in waiting to the queen, a position considered the most prestigious at the court. She was a patron of architecture and decorative arts, such as porcelain. She was a patron of the philosophes of the Enlightenment, including Voltaire, Jeanne Antoinette Poisson, otherwise known as Reinette to her friends, was born on 29 December 1721 in Paris to François Poisson and his wife Madeleine de La Motte. It is suspected that her father was either the rich financier Pâris de Montmartel or the tax collector Le Normant de Tournehem. Her younger brother was Abel-François Poisson de Vandières, who became the Marquis de Marigny. Poisson was intelligent, beautiful and refined and she spent her early childhood at the Ursuline convent in Poissy where she received a good education. At the age of 9 in 1730 she returned to Paris under the care of her mother Madame Poisson, the fortune teller told her then that she would one day be the mistress of King Louis XV. From then on Madame Poisson thought, her daughter was destined for greatness and she must provide the means and opportunities to help her achieve it. So her mother took charge of her education at home by hiring tutors who taught her to recite entire plays by heart, play the clavichord, dance, sing, paint. She became an actress and singer, and also attended Pariss Club de lEntresol. On 15 December 1740, Tournehem made his nephew his sole heir, disinheriting all his nephews and nieces. These included the estate at Étiolles, a gift from her guardian. With her husband, she had two children, a boy who died a year after his birth in 1741 and Alexandrine-Jeanne, born 10 August 1744 and died June 1754. Contemporary opinion supported by artwork from the considered the young Mme dÉtiolles to be beautiful, with her small mouth. Her young husband was soon infatuated with her and she was celebrated in the world of Paris. She founded her own salon, at Étiolles, and was joined by many philosophes, as Jeanne Antoinette became known in society, King Louis XV came to hear of her
Madame de Pompadour
–
Portrait by
François Boucher
Madame de Pompadour
–
Madame de Pompadour, portrait by
François Boucher
Madame de Pompadour
–
Madame de Pompadour (1756), portrait by
François Boucher (1703–1770)
Madame de Pompadour
–
Madame de Pompadour as
Diana the Huntress, portrait by
Jean-Marc Nattier
7.
Alexander Roslin
–
Alexander Roslin was a Swedish portrait painter who worked in Scania, Bayreuth, Paris, Italy, Warsaw and St. Petersburg, primarily for members of aristocratic families. He combined insightful psychological portrayal with a representation of fabrics. In his choice of style and lustrous, shimmering colors Alexander Roslin exemplifies Rococo and he lived in France from 1752 until 1793, a period that spanned most of his career. Rococo artists opted for a more jocular, elegant and ornate style, characterized by lightness, elegance and graceful approach to art and architecture. The painting by Roslin depicting Jeanne Sophie de Vignerot du Plessis, Alexander Roslin was born on 15 July 1718, in Malmö, Sweden, the son of naval physician Hans Roslin and Catherine Wertmüller. Stockholm had become an intellectual and artistic center since Queen Christina had established connections with Paris, at the age of sixteen he became apprenticed to the court painter Georg Engelhard Schröder in Stockholm, studying painting there until 1741 and beginning to paint large portraits in oils. Schröder was influenced by Hyacinthe Rigaud and Nicolas de Largillière, in 1741, Roslin settled in Gothenburg, and the following year moved to Scania, where he remained until 1745 painting portraits and also creating religious paintings for the church at Hasslöv. In 1745, Roslin left Sweden for Bayreuth, where he had invited to work for Frederick. In 1747, he moved to Italy to study the works of the great masters, while in Italy he portrayed, among others, the family of Philip, Duke of Parma in 1752. In the same year Roslin moved to Paris, at the age of 34, here, in 1759, he married the pastel painter Marie-Suzanne Giroust. The couple had three sons and three daughters, in 1768 Roslin painted her dressed in Bolognese fashion, Lady with Veil, a portrait that the art critic, writer and philosopher Denis Diderot judged très piquante. In 1767 he painted a portrait of them both, she is depicted working in pastels on a portrait of Henrik Wilhelm Peill, while Roslin points at a gold box he received from Peill as a present. The frame of the painting is inscribed Loin et près, showing that the portrait was a token of friendship and this painting was purchased by the Swedish National Museum in 2013. In Paris he was a protégé of François Boucher and his work became fashionable. He was chosen as a member of the French Art Academy and his early portraits are painted in bright, cool colours, and show the influence of Jean-Marc Nattier and Hyacinthe Rigaud. Around the 1760s he started using daring colouring in his paintings, such as in the portrait of his wife, Lady with Veil, and the Jennings Family. Roslin had great skill in painting the surfaces and texture of precious materials such as fabrics and jewels. In Paris he soon became one of the foremost portraitists of his time, valued mostly for practiced rendering of fabrics and gentle complexions
Alexander Roslin
–
Self Portrait while Painting the
King of Sweden 1785
Alexander Roslin
–
Double portrait of Roslin and his wife, 1767
Alexander Roslin
–
A portrait of Roslin's wife, Marie Suzanne Giroust-Roslin, 1770
Alexander Roslin
–
Countess Françoise Marguerite de Grignan the daughter of
Madame de Sévigné by Alexander Roslin 1753
8.
Grand Prix de Rome
–
The Prix de Rome was a French scholarship for arts students, initially for painters and sculptors, that was established in 1663 during the reign of Louis XIV of France. Winners were awarded a bursary that allowed them to stay in Rome for three to five years at the expense of the state, the prize was extended to architecture in 1720, music in 1803, and engraving in 1804. The prestigious award was abolished in 1968 by André Malraux, the Minister of Culture, the Prix de Rome was initially created for painters and sculptors in 1663 in France during the reign of Louis XIV. It was an annual bursary for promising artists having proved their talents by completing a very difficult elimination contest, the prize, organised by the Académie Royale de Peinture et de Sculpture, was open to their students. From 1666, the winner could win a stay of three to five years at the Palazzo Mancini in Rome at the expense of the King of France. In 1720, the Académie Royale d’Architecture began a prize in architecture, six painters, four sculptors, and two architects would be sent to the French Academy in Rome founded by Jean-Baptiste Colbert from 1666. Expanded after 140 years into five categories, the contest started in 1663 as two categories, painting and sculpture, in 1803, music was added, and after 1804 there was a prix for engraving as well. The primary winner took the First Grand Prize and the Second Prizes were awarded to the runners-up, in 1803, Napoleon Bonaparte moved the French Academy in Rome to the Villa Medici with the intention of preserving an institution once threatened by the French Revolution. At first, the villa and its gardens were in a sad state, in this way, he hoped to retain for young French artists the opportunity to see and copy the masterpieces of antiquity and the Renaissance. Jacques-Louis David, having failed to win the three years in a row, considered suicide. Édouard Manet, Edgar Degas, Ernest Chausson and Maurice Ravel attempted the Prix de Rome, but did not gain recognition. Ravel tried a total of five times to win the prize, during World War II the prize winners were accommodated in the Villa Paradiso in Nice. The Prix de Rome was abolished in 1968 by André Malraux, since then, a number of contests have been created, and the academies, together with the Institut de France, were merged by the State and the Minister of Culture. Selected residents now have an opportunity for study during an 18-month stay at The Academy of France in Rome, the heyday of the Prix de Rome was during the late eighteenth and early nineteenth centuries. The Prix de Rome for Architecture was created in 1720, the engraving prize was created in 1804. A Prix de Rome was also established in the Kingdom of Holland by Lodewijk Napoleon to award young artists and architects, during the years 1807–1810 prize winners were sent to Paris and onwards to Rome for study. Suspended in 1851 it was reinstated in 1870 by William III of the Netherlands, since then the winners have been selected by the Rijksakademie in Amsterdam under the main headings of architecture and the visual arts. The Belgian Prix de Rome is an award for artists, created in 1832
Grand Prix de Rome
–
Palazzo Mancini, Rome, the seat of the Académie since 1725. Etching by
Giovanni Battista Piranesi, 1752.
Grand Prix de Rome
–
The
Villa Medici as it looks today.
9.
Reception piece
–
In art, a reception piece is a work submitted by an artist to an Academy for approval as part of the requirements for admission to membership. The piece is representative of the artists work, and the organizations judgement of its skill may or may not form part of the criteria for accepting a new entrant. The work itself is usually retained by the academy, and many academies have large, alternative terms include diploma work at the Royal Academy in London, diploma piece, and in France at the Académie royale de peinture et de sculpture, tableau de réception or morceau de réception. The term masterpiece originated in the way under the earlier system of guilds. Membership of an academy may be by genre or technique and limited by numbers or age. Charles-Antoine Coypel, the son of its director, later said. In 1728, when Jean-Baptiste-Siméon Chardin was admitted to the academy for The Ray, it was as a painter of animals. Masterpiece Reception pieces visitor trail at the Louvre
Reception piece
–
The Embarkation for Cythera, 1717, was
Jean-Antoine Watteau 's reception piece for the
Académie Royale de Peinture et de Sculpture.
Reception piece
–
Mars and Rhea Silvia by
Nicolas Colombel, 1694, for the Académie Royale de Peinture et de Sculpture.
Reception piece
–
Chardin's The Ray for the Académie Royale de Peinture et de Sculpture, 1728.
Reception piece
–
Rinaldo and Armida by
François Boucher for the Académie Royale de Peinture et de Sculpture, 1734.
10.
Gobelins Manufactory
–
The Manufacture des Gobelins is a tapestry factory located in Paris, France, at 42 avenue des Gobelins, near the Les Gobelins métro station in the 13th arrondissement. The factory is open for guided tours several afternoons per week by appointment as well as for casual visits every day except Mondays and some specific holidays. The Galerie des Gobelins is dedicated to exhibitions of tapestries from the French manufactures and furnitures from the Mobilier national. The Gobelins were a family of dyers who, in the middle of the 15th century, established themselves in the Faubourg Saint-Marcel, Paris, on the banks of the Bièvre. In 1629, their sons Charles de Comans and Raphaël de la Planche took over their fathers tapestry workshops and their partnership ended around 1650 and the workshops were split into two. Tapestries from this early, Flemish, period are sometimes called pre-gobelins, on account of Louis XIVs financial problems, the establishment was closed in 1694, but reopened in 1697 for the manufacture of tapestry, chiefly for royal use. It rivalled the Beauvais tapestry works until the French Revolution, when work at the factory was suspended, the factory was revived during the Bourbon Restoration and, in 1826, the manufacture of carpets was added to that of tapestry. In 1871 the building was burned down during the Paris Commune. The factory is still in operation today as a state-run institution, the Gobelins still produces some limited amount of tapestries for the decoration of French governmental institutions, with contemporary subjects. A branch of the manufactory was established in London probably in the early 18th-century in the area that is now Fulham High Street, around 1753 it appears to have been taken over by the priest and adventurer, Pierre Parisot, but closed only a few years later. Museums of Paris entry Paris. org entry This article incorporates text from a now in the public domain, Chisholm, Hugh
Gobelins Manufactory
–
Manufacture des Gobelins, Paris.
Gobelins Manufactory
–
Rear view of the Gobelin Manufactory, adjoining the
Bièvre river, in 1830.
Gobelins Manufactory
–
Death of Constantine tapestry (one in a series) after a design by
Rubens woven by Filippe Maëcht and Hans Taye in the Comans-La Planche workshop, 1623-1625
Gobelins Manufactory
–
Battle of Zama, Gobelin tapestry after
Jules Romain, manufactured for
Louis XIV in 1688-1690.
Louvre Museum.
11.
Goncourt brothers
–
The Goncourt brothers were Edmond de Goncourt and Jules de Goncourt, both French naturalism writers who as collaborative sibling authors, were inseparable in life. They formed a partnership that is unique in literary history. Not only did they write all their books together, they did not spend more than a day apart in their adult lives and they are known for their literary work and for their diaries, which offer an intimate view into the French literary society of the later 19th century. Their career as writers began with an account of a holiday together. They then published books on aspects of 18th-century French and Japanese art and their histories are made entirely out of documents, autograph letters, scraps of costume, engravings, songs, the unconscious self-revelations of the time. In their volumes, they dismissed the vulgarity of the Second Empire in favour of a more refined age and they wrote the long Journal des Goncourt from 1851, which gives a view of the literary and social life of their time. When they came to write novels, it was with an attempt to give the inner, undiscovered. They published six novels, of which Germinie Lacerteux,1865, was the fourth and it is based on the true case of their own maidservant, Rose Malingre, whose double life they had never suspected. After the death of Jules, Edmond continued to write novels in the same style, seen through the nerves, in this conscious abandonment to the tricks of the eyesight, the world becomes a thing of broken patterns and conflicting colours, and uneasy movement. A novel of the Goncourts is made up of a number of details, set side by side. The soul, to them, is a series of moods and their novels are hardly stories at all, but picture-galleries, hung with pictures of the momentary aspects of the world. They are buried together in Montmartre Cemetery, Edmond de Goncourt bequeathed his entire estate for the foundation and maintenance of the Académie Goncourt. Since 1903, the académie has awarded the Prix Goncourt, probably the most important literary prize in French literature, the first English-language version of Manette Salomon, translated by Tina Kover, will be published in the spring of 2012 by Hol Art Books
Goncourt brothers
–
Edmond (left) with his brother Jules. Photographed by
Félix Nadar
12.
Jacques Guay
–
Jacques Guay was a French gemstone engraver, a protegé of Madame de Pompadour, mistress of King Louis XV of France. He was the most eminent gemstone engraver of his time, the engraver of the king. Subjects included classical figures, events in the reign of the king, jacques Guay was born in Marseille in 1711. Little is known about his family or early life and he came to Paris at an early age and studied drawing with François Boucher. He met the financier and collector Pierre Crozat and studied his collection of 1,400 classical engraved gemstones. He decided to study the art of fine stone engraving and his first efforts were successful, but he needed formal training. He went to Florence in 1742, where he studied the stones in the grand dukes collection. He went on to Rome, where King Louis XV of France let him stay in the French Academys building and he made several engraved stones while in Rome. Guay made an engraving on a small carnelian of the Triumph of Fontenoy after a design provided by Edmé Bouchardon and this was the first of a series of engravings on historical subjects. Guay was named graveur du roi in 1745, and was granted lodgings in the Louvre and he succeeded François-Julien Barier in this position. Barier, who had a minutely detailed style, was inferior as an artist. Guay was agrée for admission to the Académie royale de peinture et de sculpture in 1747 and he was formally admitted on 30 March 1748. He exhibited his work at almost all the Salons from 1747 to 1759 and he taught Madame de Pompadour how to engrave stones, and she acquired proficiency as shown in surviving samples of her work in onyx, jasper and other precious stones. One of her works was of Victory, a self-portrait in sardonyx, in 1753 Guay made a splendid cameo portrait of Louis XV in sardonyx. In a portrait of Madame de Pompadour by Boucher, exhibited in a Salon of 1755, a portrait of Madame de Pompadour at Her Toilette shows her wearing Guays cameo of Louis XV on her wrist. Guays miniature of Louis XV, cut from three-color sardonyx, was the basis for an etching of the king as a Roman emperor by Pompadour, one of the last of Guays historical works was Wishes for the recovery of the health of Madame de Pompadour. There were two variants, one an intaglio in rock crystal dated 1764, the year of Madame de Pompadours death, the work is incomplete since it could not be offered to its intended recipient. Guay lost much of his importance after the death of the marquise, no more historical works by him are known, other than an allegory on the accession of Louis XVI dated 1774
Jacques Guay
–
Madame de Pompadour at Her Toilette by
Boucher (1758). She is wearing Guay's cameo of Louis XV on her wrist.
Jacques Guay
–
Jacques Guay in his studio 1750
Jacques Guay
–
Cameo of Minerva and France protecting a newborn child (1751)
Jacques Guay
–
Amour at peace in the reign of Justice
13.
Jacques-Louis David
–
Jacques-Louis David was a French painter in the Neoclassical style, considered to be the preeminent painter of the era. David later became a supporter of the French Revolution and friend of Maximilien Robespierre. Imprisoned after Robespierres fall from power, he aligned himself with yet another political regime upon his release, at this time he developed his Empire style, notable for its use of warm Venetian colours. After Napoleons fall from Imperial power and the Bourbon revival, David exiled himself to Brussels, then in the United Kingdom of the Netherlands, where he remained until his death. David had a number of pupils, making him the strongest influence in French art of the early 19th century. Jacques-Louis David was born into a family in Paris on 30 August 1748. When he was nine his father was killed in a duel. He covered his notebooks with drawings, and he said, I was always hiding behind the instructors chair. Soon, he desired to be a painter, but his uncles and he overcame the opposition, and went to learn from François Boucher, the leading painter of the time, who was also a distant relative. Boucher was a Rococo painter, but tastes were changing, Boucher decided that instead of taking over Davids tutelage, he would send David to his friend, Joseph-Marie Vien, a painter who embraced the classical reaction to Rococo. There David attended the Royal Academy, based in what is now the Louvre, each year the Academy awarded an outstanding student the prestigious Prix de Rome, which funded a three- to five-year stay in the Eternal City. Each pensionnaire was lodged in the French Academys Roman outpost, which from the years 1737 to 1793 was the Palazzo Mancini in the Via del Corso. David competed for, and failed to win, the prize for three years, each failure contributing to his lifelong grudge against the institution. After his second loss in 1772, David went on a hunger strike, confident he now had the support and backing needed to win the prize, he resumed his studies with great zeal—only to fail to win the Prix de Rome again the following year. Finally, in 1774, David was awarded the Prix de Rome on the strength of his painting of Erasistratus Discovering the Cause of Antiochus Disease, a subject set by the judges. In October 1775 he made the journey to Italy with his mentor, Joseph-Marie Vien, while in Italy, David especially studied the works of 17th-century masters such as Poussin, Caravaggio, and the Carracci. Mengs principled, historicizing approach to the representation of classical subjects profoundly influenced Davids pre-revolutionary painting, such as The Vestal Virgin, mengs also introduced David to the theoretical writings on ancient sculpture by Johann Joachim Winckelmann, the German scholar held to be the founder of modern art history. In 1779, David toured the newly excavated ruins of Pompeii, while in Rome, David also assiduously studied the High Renaissance painters, Raphael making a profound and lasting impression on the young French artist
Jacques-Louis David
–
Self portrait of Jacques-Louis David, 1794,
Musée du Louvre
Jacques-Louis David
–
Mademoiselle Guimard as Terpsichore, 1774–5, an early work
Jacques-Louis David
–
Equestrian portrait of Stanisław Kostka Potocki (1781)
Jacques-Louis David
–
Oath of the Horatii (from 1786)
14.
Peter Paul Rubens
–
Sir Peter Paul Rubens was a Flemish/Netherlandish draughtsman and painter. He is widely considered as the most notable artist of Flemish Baroque art school, the catalogue of his works by Michael Jaffé lists 1,403 pieces, excluding numerous copies made in his workshop. His commissioned works were mostly history paintings, which included religious and mythological subjects and he painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house and he also oversaw the ephemeral decorations of the royal entry into Antwerp by the Cardinal-Infante Ferdinand in 1635. His drawings are mostly extremely forceful but not overly detailed and he also made great use of oil sketches as preparatory studies. For altarpieces he painted on slate to reduce reflection problems. Rubens was born in the city of Siegen to Jan Rubens and he was named in honour of Saint-Peter and Paul, because he was born on their solemnety. His father, a Calvinist, and mother fled Antwerp for Cologne in 1568, after increased religious turmoil and persecution of Protestants during the rule of the Spanish Netherlands by the Duke of Alba. Jan Rubens became the adviser of Anna of Saxony, the second wife of William I of Orange. Following Jan Rubens imprisonment for the affair, Peter Paul Rubens was born in 1577, the family returned to Cologne the next year. In 1589, two years after his fathers death, Rubens moved with his mother Maria Pypelincks to Antwerp, religion figured prominently in much of his work and Rubens later became one of the leading voices of the Catholic Counter-Reformation style of painting. In Antwerp, Rubens received a Renaissance humanist education, studying Latin, by fourteen he began his artistic apprenticeship with Tobias Verhaeght. Subsequently, he studied under two of the leading painters of the time, the late Mannerist artists Adam van Noort. Much of his earliest training involved copying earlier works, such as woodcuts by Hans Holbein the Younger. Rubens completed his education in 1598, at time he entered the Guild of St. Luke as an independent master. In 1600 Rubens travelled to Italy and he stopped first in Venice, where he saw paintings by Titian, Veronese, and Tintoretto, before settling in Mantua at the court of Duke Vincenzo I Gonzaga. The colouring and compositions of Veronese and Tintoretto had an effect on Rubenss painting. With financial support from the Duke, Rubens travelled to Rome by way of Florence in 1601, there, he studied classical Greek and Roman art and copied works of the Italian masters
Peter Paul Rubens
–
Self-portrait, 1623,
Royal Collection
Peter Paul Rubens
–
Rubens and
Isabella Brant, the
Honeysuckle Bower, c. 1609.
Alte Pinakothek
Peter Paul Rubens
–
The garden Rubens planned at
Rubenshuis, in
Antwerpen
Peter Paul Rubens
–
Portrait of a Young Scholar, from 1597
15.
Antoine Watteau
–
Jean-Antoine Watteau, better known as Antoine Watteau, was a French painter whose brief career spurred the revival of interest in colour and movement, as seen in the tradition of Correggio and Rubens. He revitalized the waning Baroque style, shifting it to the severe, more naturalistic. Watteau is credited with inventing the genre of fêtes galantes, scenes of bucolic and idyllic charm, some of his best known subjects were drawn from the world of Italian comedy and ballet. Watteau was born in October 1684 in the town of Valenciennes which had passed from the Spanish Netherlands to France. His father, Jean-Philippe Watteau, was a given to brawling. Showing an early interest in painting, Jean-Antoine may have been apprenticed to Jacques-Albert Gérin, jean-Antoines first artistic subjects were charlatans selling quack remedies on the streets of Valenciennes. Watteau left for Paris in 1702, by 1705 he was employed as an assistant by the painter Claude Gillot, whose work represented a reaction against the turgid official art of Louis XIVs reign. In Gillots studio Watteau became acquainted with the characters of the commedia dellarte, afterward he moved to the workshop of Claude Audran III, an interior decorator, under whose influence he began to make drawings admired for their consummate elegance. Audran was the curator of the Palais du Luxembourg, where Watteau was able to see the magnificent series of canvases painted by Peter Paul Rubens for Queen Marie de Medici. The Flemish painter would become one of his influences, together with the Venetian masters he would later study in the collection of his patron and friend. In 1709 Watteau tried to obtain the Prix de Rome and was rejected by the Academy. In 1712 he tried again and was considered so good that, rather than receiving the one-year stay in Rome for which he had applied, he was accepted as a full member of the Academy. He took five years to deliver the required reception piece, but it was one of his masterpieces, Watteau lacked aristocratic patrons, his buyers were bourgeois such as bankers and dealers. The subject of his painting, Pierrot, is an actor in a white satin costume who stands isolated from his four companions. Watteaus final masterpiece, the Shop-sign of Gersaint, exits the pastoral forest locale for an urban set of encounters. Painted at Watteaus own insistence, in eight days, working only in the mornings, in order to warm up his fingers, this sign for the shop in Paris of the paintings dealer Edme François Gersaint is effectively the final curtain of Watteaus theatre. It has been compared with Las Meninas as a meditation on art, the scene is an art gallery where the façade has magically vanished, and the gallery and street in the canvas are fused into one contiguous drama. Watteau alarmed his friends by a carelessness about his future and financial security, in fact he had been sickly and physically fragile since childhood
Antoine Watteau
–
Watteau in the last year of his life, by
Rosalba Carriera, 1721.
Antoine Watteau
–
Pleasures of Love (1718 - 1719)
Antoine Watteau
–
The Feast (or Festival) of Love (1718 - 1719)
Antoine Watteau
–
The Embarkation for Cythera, 1717,
Louvre. Many commentators note that it depicts a departure from the island of
Cythera, the birthplace of
Venus, thus symbolizing the brevity of love.
16.
Louis XV of France
–
Louis XV, known as Louis the Beloved, was a monarch of the House of Bourbon who ruled as King of France and Navarre from 1 September 1715 until his death. He succeeded his great-grandfather Louis XIV at the age of five, Cardinal Fleury was his chief minister from 1726 until the Cardinals death in 1743, at which time the young king took sole control of the kingdom. During his reign, Louis returned the Austrian Netherlands, territory won at the Battle of Fontenoy of 1745, Louis also ceded New France in North America to Spain and Great Britain at the conclusion of the Seven Years War in 1763. He incorporated the territories of Lorraine and Corsica into the kingdom of France and he was succeeded by his grandson Louis XVI in 1774. French culture and influence were at their height in the first half of the eighteenth century, however, many scholars believe that Louis XVs decisions damaged the power of France, weakened the treasury, discredited the absolute monarchy, and made it more vulnerable to distrust and destruction. Evidence for this view is provided by the French Revolution, which broke out 15 years after his death, norman Davies characterized Louis XVs reign as one of debilitating stagnation, characterized by lost wars, endless clashes between the Court and Parliament, and religious feuds. A few scholars defend Louis, arguing that his negative reputation was based on propaganda meant to justify the French Revolution. Jerome Blum described him as a perpetual adolescent called to do a mans job, Louis XV was born in the Palace of Versailles on 15 February 1710 during the reign of Louis XIV. His grandfather, Louis Le Grand Dauphin, had three sons with his wife Marie Anne Victoire of Bavaria, Louis, Duke of Burgundy, Philippe, Duke of Anjou, and Charles, Duke of Berry. Louis XV was the son of the Duke of Burgundy and his wife Marie Adélaïde of Savoy, the eldest daughter of Victor Amadeus II, Duke of Savoy. At birth, Louis XV received a title for younger sons of the French royal family. In April 1711, Louis Le Grand Dauphin suddenly died, making Louis XVs father, the Duke of Burgundy, at that time, Burgundy had two living sons, Louis, Duke of Brittany and his youngest son, the future Louis XV. A year later, Marie Adélaïde, Duchess of Burgundy, contracted smallpox and her husband, said to be heartbroken by her death, died the same week, also having contracted smallpox. Within a week of his death, it was clear that the two children had also been infected. The elder son was treated by bloodletting in an unsuccessful effort to save him. Fearing that the Dauphin would die, the Court had both the Dauphin and the Duke of Anjou baptised, the Dauphin died the same day,8 March 1712. His younger brother, the Duke of Anjou, was treated by his governess, Madame de Ventadour. The two year old Dauphin survived the smallpox, on 1 September 1715, Louis XIV died of gangrene, having reigned for 72 years
Louis XV of France
–
Louis XV by
Hyacinthe Rigaud (1730)
Louis XV of France
–
Signature
Louis XV of France
–
The duke of Brittany with his father Louis, Duke of Burgundy, his grandfather Louis, Le Grand Dauphin and his great-grandfather King Louis XIV in 1709. The future Louis XV, not yet born, is not on the painting.
Louis XV of France
–
Two
Louis d'or, 1717, depicting a very young Louis XV
17.
Genre works
–
Genre art is the pictorial representation in any of various media of scenes or events from everyday life, such as markets, domestic settings, interiors, parties, inn scenes, and street scenes. Such representations may be realistic, imagined, or romanticized by the artist, some variations of the term genre art specify the medium or type of visual work, as in genre painting, genre prints, genre photographs, and so on. Rather confusingly, the meaning of genre, covering any particular combination of an artistic medium. Painting was divided into a hierarchy of genres, with painting at the top, as the most difficult and therefore prestigious. But history paintings are a genre in painting, not genre works, the following concentrates on painting, but genre motifs were also extremely popular in many forms of the decorative arts, especially from the Rococo of the early 18th century onwards. Single figures or small groups decorated a huge variety of such as porcelain, furniture, wallpaper. Genre painting, also called genre scene or petit genre, depicts aspects of life by portraying ordinary people engaged in common activities. A work would often be considered as a genre work even if it could be shown that the artist had used a known member of his family. In this case it would depend on whether the work was likely to have intended by the artist to be perceived as a portrait—sometimes a subjective question. The depictions can be realistic, imagined, or romanticized by the artist, because of their familiar and frequently sentimental subject matter, genre paintings have often proven popular with the bourgeoisie, or middle class. Genre themes appear in all art traditions. These were part of a pattern of Mannerist inversion in Antwerp painting, giving low elements previously in the background of images prominent emphasis. The generally small scale of these paintings was appropriate for their display in the homes of middle class purchasers. Often the subject of a painting was based on a popular emblem from an Emblem book. The merry company showed a group of figures at a party, other common types of scenes showed markets or fairs, village festivities, or soldiers in camp. In Italy, a school of painting was stimulated by the arrival in Rome of the Dutch painter Pieter van Laer in 1625. He acquired the nickname Il Bamboccio and his followers were called the Bamboccianti, whose works would inspire Giacomo Ceruti, Antonio Cifrondi, jean-Baptiste Greuze and others painted detailed and rather sentimental groups or individual portraits of peasants that were to be influential on 19th-century painting. Spain had a tradition predating The Book of Good Love of social observation and commentary based on the Old Roman Latin tradition, practiced by many of its painters and illuminators
Genre works
–
The Idle Servant; housemaid troubles were the subject of several of
Nicolaes Maes ' works
Genre works
–
Peasant Dance, c. 1568, oil on wood, by
Pieter Brueghel the Elder
Genre works
–
Merry company, by Dirck Hals
Genre works
–
Interior with woman by
Wybrand Hendriks
18.
Odalisque
–
An odalisque was a chambermaid or a female attendant in a Turkish seraglio, particularly the court ladies in the household of the Ottoman sultan. The word odalisque is French in form and originates from the Turkish odalık, meaning chambermaid, from oda and it can also be transliterated odahlic, odalisk, and odaliq. In western usage, the term has come to refer specifically to the harem concubine, by the eighteenth century the term odalisque referred to the eroticized artistic genre in which a nominally eastern woman lies on her side on display for the spectator. An odalık was not a concubine of the harem, but a maid, an odalık was ranked at the bottom of the social stratification of a harem, serving not the man of the household, but rather, his concubines and wives as personal chambermaids. Odalık were usually given as gifts to the sultan by wealthy Turkish men. Generally, an odalık was never seen by the sultan but instead remained under the supervision of his mother. If an odalık was of beauty or had exceptional talents in dancing or singing. If selected, an odalık trained as a lady would serve the sultan sexually and only after such sexual contact would she change in status. In contrast to European depictions of nude women, they more often wore androgynous robes resembling those worn by the male pages of the palace. The conditions of the Ottoman harem resembled a monastery for young girls more than the bordello of European imagination. W. S. Gilbert refers to the Grace of an odalisque on a divan in Colonel Calverleys song If You Want A Receipt For That Popular Mystery from the Gilbert and Sullivan opera Patience. In popular use, the word also may refer to a mistress. During the 19th century, odalisques became common fantasy figures in the movement known as Orientalism. The gentlemen who wish to buy an odalisque or a wife, many Turks, indeed, prefer to take a slave as a wife, as, in such case, there is no need to dread fathers, mothers, or brothers-in-law, and other undesirable relations. In 2011 the Law Society of British Columbia brought a discipline hearing against a lawyer for referring to another lawyers client as living with an odalisque. The Law Society found the use of the word, though a poor choice. Culture of the Ottoman Empire Ottoman Sultans concubines Hammam Arab slave trade Islamic views on slavery Köçek Ottoman Turkish language Jeffrey Eugenides Middlesex, stretched across the couch, a Pisceasn Odalisque. The Imperial Harem by Leslie Pierce The Nature of the Early Ottoman State by Heath W Lowry
Odalisque
–
Marià Fortuny - The Odalisque
Odalisque
–
Grande Odalisque painted by
Jean Auguste Dominique Ingres (1814)
Odalisque
–
Odalisque painted by
Jules Joseph Lefebvre (1874)
Odalisque
–
A Reclining Odalisque, painted by
Gustave Léonard de Jonghe, c. 1870
19.
Denis Diderot
–
Denis Diderot was a French philosopher, art critic, and writer. He was a prominent figure during the Enlightenment and is best known for serving as co-founder, chief editor, Denis Diderot was born in Langres, Champagne, and began his formal education at a Jesuit collège in Langres. His parents were Didier Diderot a cutler, maître coutelier, three of five siblings survived to adulthood, Denise Diderot and their youngest brother Pierre-Didier Diderot, and finally their sister Angélique Diderot. According to Arthur McCandless Wilson, Denis Diderot greatly admired his sister Denise, in 1732 Denis Diderot earned the Master of Arts degree in philosophy. Then he entered the Collège dHarcourt of the University of Paris and he abandoned the idea of entering the clergy and decided instead to study at the Paris Law Faculty. His study of law was short-lived however and in 1734 Diderot decided to become a writer, because of his refusal to enter one of the learned professions, he was disowned by his father, and for the next ten years he lived a bohemian existence. In 1742 he befriended Jean-Jacques Rousseau, in 1743 he further alienated his father by marrying Antoinette Champion, a devout Roman Catholic. The match was considered due to Champions low social standing, poor education, fatherless status. She was about three years older than Diderot, the marriage in October 1743 produced one surviving child, a girl. Her name was Angélique, after both Diderots dead mother and sister, the death of his sister, a nun, from overwork in the convent may have affected Diderots opinion of religion. Babuti, Madeleine de Puisieux, Sophie Volland and Mme de Maux and his letters to Sophie Volland are known for their candor and are regarded to be among the literary treasures of the eighteenth century. Though his work was broad as well as rigorous, it did not bring Diderot riches, when the time came for him to provide a dowry for his daughter, he saw no alternative than to sell his library. When Empress Catherine II of Russia heard of his financial troubles she commissioned an agent in Paris to buy the library and she then requested that the philosopher retain the books in Paris until she required them, and act as her librarian with a yearly salary. Between October 1773 and March 1774, the sick Diderot spent a few months at the court in Saint Petersburg. Diderot died of thrombosis in Paris on 31 July 1784. His heirs sent his vast library to Catherine II, who had it deposited at the National Library of Russia and this idea seems to have been shelved. In 1745, he published a translation of Shaftesburys Inquiry Concerning Virtue and Merit, in 1746, Diderot wrote his first original work, the Philosophical Thoughts. In this book, Diderot argued for a reconciliation of reason with feeling so as to establish harmony, according to Diderot, without feeling there would be a detrimental effect on virtue and no possibility of creating sublime work
Denis Diderot
–
n° 9 de la place dans le centre ville de Langres in the background on the right side the birthplace of Denis Diderot
Denis Diderot
–
Diderot, by
Louis-Michel van Loo, 1767.
Denis Diderot
–
Title page of the
Encyclopédie
Denis Diderot
–
Statue of Denis Diderot in the city of
Langres, his birthplace
20.
Charles Simon Favart
–
Charles Simon Favart was a French playwright. Born in Paris, the son of a pastry-cook, he was educated at the college of Louis-le-Grand and his first success in literature was La France delivrée par la Pucelle dOrléans, a poem about Joan of Arc which obtained a prize of the Académie des Jeux Floraux. After the production of his first vaudeville, Les Deux Jumelles, circumstances enabled him to relinquish business and he provided many pieces anonymously for the lesser theatres, and first put his name to La Chercheuse desprit, which was produced in 1741. Among his most successful works were Annette et Lubin, Le Coq du milage, Ninette à la cour, Les Trois Sultanes and LAnglais de Bordeaux. By their united talents and labours, the Opéra-Comique rose to such a height of success that it aroused the jealousy of the rival Comédie-Française and was suppressed. Favart, left thus without resources, accepted the proposal of Maurice, comte de Saxe and it was part of his duty to compose from time to time impromptu verses on the events of the campaign, amusing and stimulating the spirits of the men. The marshal, an admirer of Mme Favart, began to pay her unwanted attentions, to escape him she went to Paris, and the wrath of Saxe fell upon the husband. A lettre de cachet was issued against him, but he fled to Strasbourg, Favart survived his wife by twenty years. After the marshals death in 1750 he returned to Paris and resumed his pursuits as a dramatist and it was at this time that he became friendly with the abbé de Voisenon, who helped him with his work, to what extent is uncertain. He had grown nearly blind in his last days, and died in Paris and his plays have been republished in various editions and selections. His correspondence with Count Durazzo, director of theatres at Vienna, was published in 1808 as Mémoires et correspondance littéraire and it furnishes valuable information on the state of the literary and theatrical worlds in the 18th century. Some 60 of the c.150 plays that he composed were published in his lifetime, in 10 volumes, under the title Théâtre de M. Favart, Paris, Duchesne, reprint in fac-simile, Geneva, Slatkine,1971,10 t. Favart also left Mémoires, published in 1808 by his grandson, Favart and his wife appeared in fictionalised form in Offenbachs 1878 opéra comique, Madame Favart, their second son, Charles Nicolas Favart was an actor and dramatist. Favart reworked Rinaldo di Capuas La Zingara as La Bohemienne, favarts Hippolyte et Aricie is a parody of the opera by Jean-Philippe Rameau bearing the same name. This article incorporates text from a now in the public domain, Chisholm, Hugh
Charles Simon Favart
–
Charles Simon Favart
21.
Tapestry
–
Tapestry is a form of textile art, traditionally woven on a vertical loom. Tapestry is weft-faced weaving, in all the warp threads are hidden in the completed work. In tapestry weaving, weft yarns are typically discontinuous, the artisan interlaces each coloured weft back and it is a plain weft-faced weave having weft threads of different colours worked over portions of the warp to form the design. Most weavers use a warp thread, such as linen or cotton. The weft threads are usually wool or cotton, but may include silk, gold, silver, the earliest attested form of the word is the Mycenaean Greek
Tapestry
–
One of the tapestries in the series
The Hunt of the Unicorn: The Unicorn is Found, circa 1495-1505,
the Cloisters,
Metropolitan Museum of Art, New York City
Tapestry
–
Henry VIII is seated beneath a tapestry cloth of state
Tapestry
–
Detail of Naissance de Marie
Aubusson tapestry in the cloister of
Church of St. Trophime, Arles
Tapestry
–
The Attainment, one of the
Holy Grail tapestries,
Morris & Co., 1890s
22.
Beauvais tapestry
–
Whereas the royal Gobelins manufacture executed tapestries for the royal residences and for ambassadorial gifts, the manufacture at Beauvais always remained a private enterprise. Behagles first successes were a suite of Conquests of the King which complemented a contemporaneous Gobelins suite showing episodes in the Life of the King, a suite of Acts of the Apostles, following copies of Raphaels cartoons, are in the cathedral of Beauvais. The great series of Grotesques initiated in the 1690s became a mainstay of Beauvais production, behagle continued his private workshops in Paris, as had his predecessor. From these shops came the suite of Marine Triumphs with the arms of the comte de Toulouse, on his death in 1705, the Beauvais manufacture was continued by his wife and son, and in 1711 by new proprietors, the brothers Filleul. Between 1722 and 1726, Beauvais was directed by Noël-Antoine de Mérou, and maintained showrooms in Paris, the great period of Beauvais tapestry begins with the arrival of Jean-Baptiste Oudry,22 July 1726, replacing the unsatisfactory Jacques Duplessis. Oudry was simultaneously inspector of the works at Gobelins, the king had the entire production of Gobelins at his disposal, but as Edith Standen points out, they were rather large, rather solemn and definitely old-fashioned. In 1739, for the first time, cartoons for Beauvais were exhibited at the Paris salon, bouchers eight oil sketches for these Tentures chinoises were shown in the Salon of 1742. It was unusual for the sketches to be enlarged to provide cartoons, as in this case. The successful series was woven at Beauvais at least ten times between July 1743 and August 1775, in further copies were made at Aubusson. Media related to Tapestry of Beauvais at Wikimedia Commons
Beauvais tapestry
–
Tapestry from the suite of "
Bérain Grotesques " (detail), made under the Behagles, c. 1700 (
Kronborg)
Beauvais tapestry
–
Astronomers of the
Jesuit China missions with Chinese scholars, Les Astronomes, Beauvais tapestry,1697-1705.
Beauvais tapestry
–
Le Cheval fondu from the series of Amusements Champêtres for which Oudry provided cartoons in the 1720s
Beauvais tapestry
–
Beauvais tapestry upholsters seats given by
Louis-Philippe as a wedding gift to
his daughter, 1832
23.
Cupid and Psyche
–
Cupid and Psyche is a story originally from Metamorphoses, written in the 2nd Century AD by Lucius Apuleius Madaurensis. It concerns the overcoming of obstacles to the love between Psyche and Cupid or Amor, and their union in a sacred marriage. Although the only extended narrative from antiquity is that of Apuleius, Eros, since the rediscovery of Apuleiuss novel in the Renaissance, the reception of Cupid and Psyche in the classical tradition has been extensive. The story has been retold in poetry, drama, and opera, and depicted widely in painting, sculpture, Psyches Roman name through direct translation is Anima. The tale of Cupid and Psyche is placed at the midpoint of Apuleiuss novel, the novel itself is a first-person narrative by the protagonist Lucius. Transformed into a donkey by magic gone wrong, Lucius undergoes various trials and adventures, Psyches story has some similarities, including the theme of dangerous curiosity, punishments and tests, and redemption through divine favor. As a structural mirror of the plot, the tale is an example of mise en abyme. The happy ending for Psyche is supposed to assuage Charites fear of rape, there were once a king and queen, rulers of an unnamed city, who had three daughters of conspicuous beauty. The youngest and most beautiful was Psyche, whose admirers, neglecting the worship of the love goddess Venus, instead prayed. It was rumored that she was the coming of Venus. Venus is offended, and commissions Cupid to work her revenge, Cupid instead scratches himself with his own dart, which makes any living thing fall in love with the first thing it sees. As soon as Cupid scratches himself he falls deeply in love with Psyche, although her two humanly beautiful sisters have married, the idolized Psyche has yet to find love. Her father suspects that they have incurred the wrath of the gods, Psyche is arrayed in funeral attire, conveyed by a procession to the peak of a rocky crag, and exposed. Marriage and death are merged into a rite of passage. Zephyr the West Wind bears her up to meet her match, and deposits her in a lovely meadow. The transported girl awakes to find herself at the edge of a cultivated grove, exploring, she finds a marvelous house with golden columns, a carved ceiling of citrus wood and ivory, silver walls embossed with wild and domesticated animals, and jeweled mosaic floors. A disembodied voice tells her to make herself comfortable, and she is entertained at a feast that serves itself, although fearful and without sexual experience, she allows herself to be guided to a bedroom, where in the darkness a being she cannot see makes her his wife. She gradually learns to look forward to his visits, though he always departs before sunrise and forbids her to look upon him, and soon she becomes pregnant
Cupid and Psyche
–
Psyche and Amor, also known as Psyche Receiving Cupid's First Kiss (1798), by
François Gérard: a symbolic butterfly hovers over Psyche in a moment of innocence poised before sexual awakening.
Cupid and Psyche
–
Psyche Honoured by the People (1692–1702) from a series of 12 scenes from the story by
Luca Giordano
Cupid and Psyche
–
Psyche's Wedding (
Pre-Raphaelite, 1895) by
Edward Burne-Jones
Cupid and Psyche
–
Psyche Showing Her Jewelry to Her Sisters (
Neoclassical, 1815–16),
grisaille wallpaper by
Merry-Joseph Blondel
24.
Menus-Plaisirs du Roi
–
The duc dAumont appointed the renowned gilt-bronze maker Pierre Gouthière doreur ordinaire of the Menus-Plaisirs in 1767 and appointed the architect Bellanger to the Menus-Plaisirs in the same year. For most of the reign of Louis XVI, the intendant of the Menus-Plaisirs du Roi was Papillon de la Ferté, many designers were required at the Menus-Plaisirs. The architect Charles-Nicolas Cochin worked for years for the Menus-Plaisirs du Roi, 1735–51. And François-Joseph Bélanger began his career in 1767 working at the Menus-Plaisirs, the Cabinet du Roi provided the commemorative engravings, which are often our only record, and sold them. The functions of design and commemoration overlapped, needless to say, the Menus-Plaisirs were not in charge of the essential furniture of the royal palaces, which were the province of the Garde-Meuble de la Couronne. It was delivered on 1 May 1770, the music required for these entertainments was also a concern of the Menus-Plaisirs du Roi. Beginning in 1762 the music section was established on a large site extending north from the rue Bergère, the facilities included what had previously been the theatre of the Opéra-Comique at the Saint-Laurent Fair. The site was expanded until it reached the rue Richer on the north. The two institutions were merged into the Conservatoire de Musique in August 1795, a new Conservatory Concert Hall was added in 1811. Under the French Second Empire a different theatre with the name Théâtre des Menus-Plaisirs was constructed at 14 Boulevard de Strasbourg in Paris, under Louis XV a structure was erected in the town of Versailles to house the multiple activities of the Menus-Plaisirs. It still stands, at 22, avenue de Paris, now rendered famous as the site of the Estates-General of 1789, a provisionally fitted-out space was arranged in the building to seat the Assembly of Notable in 1787, and again in 1788. The old Hôtel des Menus-Plaisirs is now the home of the Centre de Musique Baroque de Versailles, histoire des salles de lOpéra de Paris, p.83. Les Grandes Fêtes et leurs Décors à lÉpoque de Louis XVI, the Menus-Plaisirs during the tenure of the successive brothers Slodtz as Dessinateurs. Dictionnaire des théâtres parisiens au XIXe siècle, les théâtres et la musique, view formats and editions at WorldCat. Robin Emlein The Politics of Pleasure, Partying in the Gardens of Versailles
Menus-Plaisirs du Roi
–
Plan and long section of the Hôtel des Menus-Plaisirs on the rue Bergère (c. 1780)
Menus-Plaisirs du Roi
Menus-Plaisirs du Roi
–
The meeting of the Estates General, in the Salle des États, 5 May 1789
25.
Palace of Versailles
–
The Palace of Versailles, Château de Versailles, or simply Versailles, is a royal château in Versailles in the Île-de-France region of France. Versailles is therefore not only as a building, but as a symbol of the system of absolute monarchy of the Ancien Régime. First built by Louis XIII in 1623, as a lodge of brick and stone. The first phase of the expansion was designed and supervised by the architect Louis Le Vau and it culminated in the addition of three new wings of stone, which surrounded Louis XIIIs original building on the north, south, and west. After Le Vaus death in 1670, the work was taken over and completed by his assistant, charles Le Brun designed and supervised the elaborate interior decoration, and André Le Nôtre landscaped the extensive Gardens of Versailles. Le Brun and Le Nôtre collaborated on the fountains, and Le Brun supervised the design. During the second phase of expansion, two enormous wings north and south of the wings flanking the Cour Royale were added by the architect Jules Hardouin-Mansart. He also replaced Le Vaus large terrace, facing the garden on the west, with became the most famous room of the palace. The Royal Chapel of Versailles, located at the end of the north wing, was begun by Mansart in 1688. One of the most baffling aspects to the study of Versailles is the cost – how much Louis XIV, owing to the nature of the construction of Versailles and the evolution of the role of the palace, construction costs were essentially a private matter. Initially, Versailles was planned to be a residence for Louis XIV and was referred to as the kings house. Once Louis XIV embarked on his campaigns, expenses for Versailles became more of a matter for public record. To counter the costs of Versailles during the years of Louis XIVs personal reign. Accordingly, all materials that went into the construction and decoration of Versailles were manufactured in France, even the mirrors used in the decoration of the Hall of Mirrors were made in France. While Venice in the 17th century had the monopoly on the manufacture of mirrors, to meet the demands for decorating and furnishing Versailles, Colbert nationalised the tapestry factory owned by the Gobelin family, to become the Manufacture royale des Gobelins. In 1667, the name of the enterprise was changed to the Manufacture royale des Meubles de la Couronne, the Comptes meticulously list the expenditures on the silver furniture – disbursements to artists, final payments, delivery – as well as descriptions and weight of items purchased. Entries for 1681 and 1682 concerning the silver used in the salon de Mercure serve as an example. 5 In anticipation, For the silver balustrade for the bedroom,90,000 livres II
Palace of Versailles
–
Aerial view of the Palace from above the
Gardens of Versailles
Palace of Versailles
–
Bust of Louis XIV by
Bernini in the
Diana Salon of the Palace of Versailles
Palace of Versailles
–
View of the Palace from the garden
Palace of Versailles
–
Marble Court
26.
Choisy-le-Roi
–
Choisy-le-Roi is a commune in the Val-de-Marne department in the southeastern suburbs of Paris, France. Choisy-le-Roi is located 10.7 km southeast from the center of Paris, the neighbouring communes are, from the north and clockwise, Vitry-sur-Seine, Alfortville, Créteil, Valenton, Villeneuve-Saint-Georges, Orly and Thiais. Choisy-le-Roi is served by Choisy-le-Roi station on Paris RER line C and it is also served by Créteil-Pompadour station on Paris RER line D
Choisy-le-Roi
–
The town hall of Choisy-le-Roi
27.
Porcelain
–
Porcelain /ˈpɔːrsəlᵻn, ˈpɔːrslᵻn/ is a ceramic material made by heating materials, generally including kaolin, in a kiln to temperatures between 1,200 and 1,400 °C. Porcelain was first developed in China around 2,000 years ago, then spread to other East Asian countries, and finally Europe. It combines well with both glazes and paint, and can be modelled very well, allowing a range of decorative treatments in tablewares, vessels. It also has uses in technology and industry. The European name, porcelain in English, come from the old Italian porcellana because of its resemblance to the translucent surface of the shell, Porcelain is also referred to as china or fine china in some English-speaking countries, as it was first seen in imports from China. Porcelain has been described as being completely vitrified, hard, impermeable, white or artificially coloured, translucent, however, the term porcelain lacks a universal definition and has been applied in a very unsystematic fashion to substances of diverse kinds which have only certain surface-qualities in common. Terms such as porcellaneous or near-porcelain may be used in such cases, a high proportion of modern porcelain is made of the variant bone china. Kaolin is the material from which porcelain is made, even though clay minerals might account for only a small proportion of the whole. The word paste is an old term for both the unfired and fired material, a more common terminology these days for the unfired material is body, for example, when buying materials a potter might order an amount of porcelain body from a vendor. The composition of porcelain is highly variable, but the mineral kaolinite is often a raw material. Other raw materials can include feldspar, ball clay, glass, bone ash, steatite, quartz, petuntse, the clays used are often described as being long or short, depending on their plasticity. Long clays are cohesive and have high plasticity, short clays are cohesive and have lower plasticity. Clays used for porcelain are generally of lower plasticity and are shorter than many other pottery clays and they wet very quickly, meaning that small changes in the content of water can produce large changes in workability. Thus, the range of content within which these clays can be worked is very narrow. The following section provides information on the methods used to form, decorate, finish, glaze. Many types of glaze, such as the iron-containing glaze used on the wares of Longquan, were designed specifically for their striking effects on porcelain. Porcelain wares may be decorated under the glaze using pigments that include cobalt and copper or over the glaze using coloured enamels. Like many earlier wares, modern porcelains are often biscuit-fired at around 1,000 °C, coated with glaze, another early method is once-fired where the glaze is applied to the unfired body and the two fired together in a single operation
Porcelain
–
Porcelain wares, such as those similar to these Yongle-era porcelain flasks, were often presented as trade goods during the 15th-century
Chinese maritime expeditions. (British Museum)
Porcelain
–
Soft-paste porcelain Swan
tureen, 1752-6,
Chelsea.
Porcelain
–
Flower centrepiece, 18th century, Spain.
Porcelain
–
Ming Dynasty Xuande Archaic Porcelain Vase
28.
Vincennes porcelain
–
The Vincennes porcelain manufactory was established in 1740 in the disused royal Château de Vincennes, in Vincennes, east of Paris, which was from the start the main market for its wares. The entrepreneur in charge at first, Claude-Humbert Gérin, established workshops and employed craftsmen from the Chantilly manufactory, whose patron, notable defectors from Chantilly were the debt-ridden brothers Gilles and Robert Dubois, one a sculptor, the other a painter. The Chinese manufacturing secrets for porcelain manufacturing were revealed by the Jesuit Father Francois Xavier dEntrecolles in 1712, the silversmith Jean-Claude Duplessis was brought in during 1745, he designed vases for Vincennes embodying the robust yet balanced French Rococo. Gifted sculptors were contracted to provide models for table sculptures, enamel painting was applied over the fired glazes, to be refired at lower temperature, and at Vincennes the refinement of its techniques began to approach that of miniatures. Three small white figures, together with a vase, were mounted on a gilt-bronze pedestal. The vase contains a bouquet of flowers also made in porcelain, M. de Fulvy told me there were 480 flowers in the bouquet. The vase with its pedestal and the flowers stood about three feet high. The bronze mounting alone cost 100 louis, and the porcelain just as much, it is a work of its kind— as much for the whiteness as for the execution of the small figures. The covered vases of the model pot-pourri Pompadour were designed by Duplessis, after 1752, through a Royal Edict, Vincennes was handed a monopoly of polychrome decors, which reduced the scope of other manufactories to some degree. In 1757 Étienne Maurice Falconet was appointed director of the sculpture atelier, the procedure of introducing datemarks, and painters and gilders marks, which has made a detailed understanding of individual styles of Sèvres possible, was initiated at Vincennes, in 1753. Orientalism in early modern France Tamara Préaud, ed. Porcelaines de Vincennes, les origines de Sèvres, exhibition catalogue, Grand Palais, October 1977 — January 1978 Sassoon, pair of Duplessis vases,1753 Clark Art Institute
Vincennes porcelain
–
Vincennes soft-paste porcelain, 1749-1750.
Vincennes porcelain
–
Section of a letter from
Francois Xavier d'Entrecolles about Chinese porcelain manufactuting techniques, 1712, re-published by
Jean-Baptiste du Halde in 1735.
Vincennes porcelain
–
Vincennes soft porcelain plate, 1749-1753.
Vincennes porcelain
–
Vincennes soft porcelain seau, 1749-1753.
29.
Jean-Baptiste Oudry
–
Jean-Baptiste Oudry was a French Rococo painter, engraver, and tapestry designer. He is particularly known for his naturalistic pictures of animals. Jean-Baptiste Oudry was born in Paris, the son of Jacques Oudry, a painter and art dealer and his father was a director of the Académie de St-Luc art school, which Oudry joined. At first, Oudry concentrated on portraiture, and he became a pupil and he graduated at only 22 years of age, on 21 May 1708, at the same time as his two older brothers. The next year, he married Marie-Marguerite Froissé, the daughter of a miroitier to whom he gave lessons in painting, Oudry became an assistant professor at Académie de Saint-Luc in 1714, and professor on 1 July 1717. He was inducted as a member of the prestigious Académie Royale de Peinture et de Sculpture in 1719, the series was called The Pastoral Amusements, or Les Amusements Champêtres. Through this connection, he was commissioned to produce the painting made his reputation. Oudry was granted a workshop in the Tuileries and an apartment in the Louvre. M. Hultz, an adviser to the Académie de Peinture, commissioned Oudry to produce a buffet, or still-life combining silver plates and ewers, fruit and game, the work was exhibited in the Salon of 1737. Oudry timidly asked for ten pistoles for his work, but Hultz valued it much higher, Oudry was also commissioned to produce a buffet for Louis XV, that went to the château de Choisy, the Kings favoured hunting residence. Hultz recommended Oudry to Louis Fagon, an intendant des finances and book collector, Fagon was charged with reviving the fortunes of the tapestry manufactory of Beauvais, which had flourished under Colbert, and he gave the task to Oudry and his associate, Besnier, in 1734. Oudry succeeded in his tasks, becoming wealthy in the process and his success at Beauvais led to a further appointment as inspector at the Gobelins manufactory in 1736, where his works were copied as cartoons for tapestries. Oudry used a camera obscura in an attempt to speed up the process of producing landscapes, but abandoned it when he saw that the perspective and he was often sent examples of rare birds to draw. He later purchased a series of paintings of animals from Louis XVs menagerie at Versailles. Oudrys initial motive for painting these works is obscure, the works are still at Schwerin. He turned down offers to work for the Czar Peter the Great and the King of Denmark, preferring to remain in France, Oudry lost some of his responsibilities when Fagon was replaced by de Trudaine. He suffered two strokes in quick succession, the second left him paralysed, and he died shortly thereafter, at Beauvais. He was buried in the Church of Saint-Thomas in Beauvais and his epitaph on the stone was lost when the church was demolished in 1795, but was later found and placed in the Church of Saint-Étienne
Jean-Baptiste Oudry
–
Jean-Baptiste Oudry, by
Jean-Baptiste Perronneau.
Jean-Baptiste Oudry
–
Jean-Baptiste Oudry, etching made by his wife, Marie-Marguerite Froissé, after a painting by
Nicolas de Largillière.
Jean-Baptiste Oudry
–
Clara le Rhinoceros (1749),
Staatliches Museum,
Schwerin.
Jean-Baptiste Oudry
–
The Lion in Love,
Aubusson tapestry (ca. 1775-80), after J-B. Oudry,
Musée Nissim de Camondo, Paris.
30.
Chinoiserie
–
Chinoiserie is the European interpretation and imitation of Chinese and East Asian artistic traditions, especially in the decorative arts, garden design, architecture, literature, theatre, and music. First appearing in the 17th century, this trend was popularized in the 18th century due to the rise in trade with China, as a style, chinoiserie is related to the Rococo style. Chinoiserie entered European art and decoration in the mid-to-late 17th century and it was also popularized by the influx of Chinese and Indian goods brought annually to Europe aboard English, Dutch, French, and Swedish East India Companies. There was a revival of popularity for chinoiserie in Europe and the United States from mid-19th Century through the 1920s, though usually understood as a European style, chinoiserie was a global phenomenon. Local versions of chinoiserie were developed in India, Japan, Persia and those products then inspired local artists and artisans such as ceramicists making Talavera pottery at Puebla de Los Angeles. There were many reasons why chinoiserie gained such popularity in Europe in the 18th century, Europeans had a fascination with the exotic East due to their increased, but still restricted, access to new cultures through expanded trade with East Asia, especially China. While Europeans frequently held inaccurate ideas about East Asian, this did not necessarily preclude their fascination, in particular, the Chinese who had exquisitely finished art. Whose court ceremonial was even more elaborate than that of Versailles were viewed as highly civilized. According to Voltaire in his Art de la Chine, The fact remains that four years ago. In other words, somewhere, on the side of the world, there existed a culture so rich that it rivaled the civilizations of Rome. Chinoiserie created a juxtaposition between something new and exotic for Europeans while at the same time reflecting the values of the 4,000 year old culture from which these objects came. Some critics saw the style as …a retreat from reason and taste and it was viewed as lacking the logic and reason upon which Antique art had been founded. Architect and author Robert Morris claimed that it …consisted of mere whims and chimera, without rules or order, it requires no fertility of genius to put into execution. Those with an archaeological view of the East, considered the chinoiserie style, with its distortions and whimsical approach, to be a mockery of the actual Chinese art. Finally, still believed that an interest in chinoiserie indicated a pervading cultural confusion in European society. Chinoiserie persisted into the 19th and 20th centuries but declined in popularity, there was a notable loss of interest in Chinese-inspired décor after the death in 1830 of King George IV, a great proponent of the style. The First Opium War of 1839-1842 between Britain and China disrupted trade and caused a decline of interest in the Oriental. China closed its doors to exports and imports and for many people became a fashion of the past
Chinoiserie
–
A Vienna porcelain jug, 1799, decorated to imitate another rare Chinese product,
lacquerware
Chinoiserie
–
Sir William Chambers ' Pagoda at the
Royal Botanic Gardens at
Kew,
London
Chinoiserie
–
The Chinese Garden, a chinoiserie painting by
François Boucher.
Chinoiserie
–
Depiction of a Chinese
folding screen as interior decoration in the oil painting Chopin (1873) by
Albert von Keller.
31.
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.
32.
Louvre
–
The Louvre or the Louvre Museum is the worlds largest museum and a historic monument in Paris, France. A central landmark of the city, it is located on the Right Bank of the Seine in the citys 1st arrondissement, approximately 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square metres. The Louvre is the second most visited museum after the Palace Museum in China. The museum is housed in the Louvre Palace, originally built as a fortress in the late 12th century under Philip II, remnants of the fortress are visible in the basement of the museum. Due to the expansion of the city, the fortress eventually lost its defensive function and. The building was extended many times to form the present Louvre Palace, in 1692, the building was occupied by the Académie des Inscriptions et Belles Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years, during the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nations masterpieces. The museum opened on 10 August 1793 with an exhibition of 537 paintings, because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under Napoleon and the museum renamed Musée Napoléon, the collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic, whether this was the first building on that spot is not known, it is possible that Philip modified an existing tower. According to the authoritative Grand Larousse encyclopédique, the name derives from an association with wolf hunting den, in the 7th century, St. Fare, an abbess in Meaux, left part of her Villa called Luvra situated in the region of Paris to a monastery. This territory probably did not correspond exactly to the modern site, the Louvre Palace was altered frequently throughout the Middle Ages. In the 14th century, Charles V converted the building into a residence and in 1546, Francis acquired what would become the nucleus of the Louvres holdings, his acquisitions including Leonardo da Vincis Mona Lisa. After Louis XIV chose Versailles as his residence in 1682, constructions slowed, however, on 14 October 1750, Louis XV agreed and sanctioned a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. Under Louis XVI, the museum idea became policy. The comte dAngiviller broadened the collection and in 1776 proposed conversion of the Grande Galerie of the Louvre – which contained maps – into the French Museum, many proposals were offered for the Louvres renovation into a museum, however, none was agreed on. Hence the museum remained incomplete until the French Revolution, during the French Revolution the Louvre was transformed into a public museum. In May 1791, the Assembly declared that the Louvre would be a place for bringing together monuments of all the sciences, on 10 August 1792, Louis XVI was imprisoned and the royal collection in the Louvre became national property
Louvre
–
the Richelieu wing (2005)
Louvre
–
The only portion of the medieval Louvre still visible
Louvre
–
Antonio Canova 's
Psyche Revived by Cupid's Kiss was commissioned in 1787, donated in 1824.
Louvre
–
The
Venus de Milo was added to the Louvre's collection during the reign of
Louis XVIII.
33.
Honolulu Museum of Art
–
The Honolulu Museum of Art is an art museum in Honolulu, Hawaiʻi. The museum is largest of its kind in the state, and was founded in 1922 by Anna Rice Cooke. The Honolulu Museum of Art was called “the finest small museum in the United Statesˮ by J. Carter Brown, director of the National Gallery of Art from 1969 to 1992. It presents international caliber special exhibitions and features a collection that includes Hokusai, van Gogh, Gauguin, Monet, Picasso and Warhol, located in two of Honolulu’s most beautiful buildings, visitors enjoy two cafés, gardens, and films and concerts at the theater. In 2011, The Contemporary Museum gifted its assets and collection to the Honolulu Academy of Arts, in 2012, the Museum is accredited by the American Alliance of Museums and registered as a National and State Historical site. In 1990, the Honolulu Museum of Art School was opened to expand the program of art classes. In 2001, the Henry R. Luce Pavilion Complex opened with the Honolulu Museum of Art Café, Museum Shop, the Honolulu Museum of Art has a large collection of Asian art, especially Japanese and Chinese works. Major collections include the Samuel H, other collections include the James A. Michener collection of ukiyo-e prints and the Hawaiian art collection, which chronicles the history of art in Hawaiʻi. The permanent collection is presented in 32 galleries and six courtyards, the Honolulu Museum of Art occupies 3.2 acres near downtown Honolulu, not far from Waikīkī beach. The Museum is open to the public Tuesday through Sunday, admission is free to members, children and for some events, but otherwise a fee is charged. Some events and certain days offer free admission to all, an optional audio guide includes 40 selections from the collection. Guided tours are offered several times daily, tours in the Japanese language, for the hearing impaired and specialty group tours for 10 or more are also available. The museum is open 10 a. m. to 4,30 p. m. on Tuesday to Saturday,1 p. m. to 5 p. m. on Sunday, and closed on Monday. The museums second location, Spalding House, is located in lush Makiki Heights and features galleries of art, a café, on permanent view is David Hockneys installation Lenfant et les sortilèges, the artists interpretation of his original stage designs for the 1981 Metropolitan Opera production. The Doris Duke Theatre at the Museum seats 280 and it hosts movies, concerts, lectures, and presentations. The theatre is home to Hawaiis GLBT film festival the Rainbow Film Festival. It is currently run by Theatre Manager, Taylour Chang, in 1927, the Robert Allerton Art Research Library opened with 500 books. In 1955, it was expanded and named for Robert Allerton, Collections include 45,000 books and periodicals, biographical files on artists, and auction catalogues dating to the beginning of the 20th century
Honolulu Museum of Art
–
The Honolulu Museum of Art
Honolulu Museum of Art
–
Mrs. Thomas Lincoln Manson Jr (Mary Groot) 1890, by
John Singer Sargent. Oil on canvas (56.06" x 44.25")
Honolulu Museum of Art
–
Gautama Buddha and the Eight Great
Bodhisattvas, Korea,
Joseon Dynasty, 16th century
Honolulu Museum of Art
–
Hemis (home dance)
kachina doll, Arizona,
Hopi people in the Honolulu Museum of Art
34.
Venus Consoling Love
–
Venus Consoling Love is a painting by François Boucher, from 1751. The painting depicts a scene, where Venus, the goddess of Love, depicted as a young, charming. She is about to disarm Cupid, by taking away his arrows, in Enlightenment France the dedicated search to define truth engendered a re–evaluation of the natural. The belief that it was right to follow nature, and that the pursuit of pleasure was natural, Venus sits beside the pond with doves, the goddess symbol. The white doves at her feet, her complexion, the pearls in her hair are just as luxurious like the silk draperies that were wrapped around her, Boucher painted the artwork with soft pastel tones using a dim silvery light. The painting was made with technical skill. The principal charm of Rococo art is its sensuality and seductivity, the painting belonged to Mme de Pompadour, the French kings mistress, dislplayed at Château de Bellevue, who commissioned it, and it was Madame de Pompadour who allegedly posed for the painting. Artists liked to work for her not only for the prestige of working for the aristocracy, but also because she paid her bills regularly
Venus Consoling Love
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Venus Consoling Love
35.
Neue Pinakothek
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The Neue Pinakothek is an art museum in Munich, Germany. Its focus is European Art of the 18th and 19th century and is one of the most important museums of art of the century in the world. Together with the Alte Pinakothek and the Pinakothek der Moderne it is part of Munichs Kunstareal, the museum was founded by the former King Ludwig I of Bavaria in 1853. The original building constructed by Friedrich von Gärtner and August von Voit was destroyed during World War II, the ruin of the Neue Pinakothek was demolished in 1949. Designed by architect Alexander Freiherr von Branca the new building with features such as arched windows, keystones, bay windows and stairways. It combines a concrete construction with a stone facade design, Ludwig began to collect contemporary art already as crown prince in 1809 and his collection has been steadily enlarged. Owing to the preference of Ludwig I there was initially a strong focus on paintings of German Romanticism. Also dynastic considerations played a role as Greece had become a secundogeniture of Bavaria in 1832, the so-called Tschudi Contribution between 1905 and 1914 brought the Pinokathek an extraordinary collection of masterpieces of Impressionism and Post-Impressionism. Hugo von Tschudi was dismissed by Kaiser Wilhelm as a penalty for his bringing Gauguins The Birth of Christ into the National Gallery in Berlin and he went on to become the director of the Pinokathek. As general director of the State Collections, Tschudi acquired 44 paintings, nine sculptures and 22 drawings, since public funds could not be used to purchase these works, Tschudi’s associates raised the money from private contributions after his death in 1911. The delimitation to the modern painters displayed in the Pinakothek der Moderne was later fixed by taking the restart of Henri Matisse, consequentially a painting of Matisse acquired by the Tschudi Contribution is now displayed in the Pinakothek der Moderne. In 1915, the Neue Pinakothek became the property of the Bavarian state, a self-portrait of Vincent van Gogh was confiscated in 1938 by the Nazi regime as degenerate art and sold one year later. The museum is under supervision of the Bavarian State Painting Collections which houses a collection of more than 3.000 European paintings from classicism to art nouveau. About 400 paintings and 50 sculptures of these are exhibited in the New Pinakothek, international paintings of the second half of 18th century, Among others the gallery exhibits works of Francisco de Goya, Jacques-Louis David, Johann Friedrich August Tischbein and Anton Graff. German artists of Classicism in Rome like Friedrich Overbeck, Friedrich Wilhelm von Schadow, Heinrich Maria von Hess, Peter von Hess, German Romanticism with paintings of Caspar David Friedrich, Karl Friedrich Schinkel, Carl Blechen and others. Biedermeier represented by Franz Xaver Winterhalter, Carl Spitzweg, Moritz von Schwind and Ferdinand Georg Waldmüller, French Realism and French Romanticism with Eugène Delacroix, Théodore Géricault, Gustave Courbet, Jean-François Millet, Honoré Daumier and others. Deutschrömer such as Hans von Marées, Arnold Böcklin, Anselm Feuerbach, history paintings with Wilhelm von Kaulbach, Karl Theodor von Piloty, Franz von Defregger and Hans Makart. German Realism like Wilhelm Leibl, Franz von Lenbach and Adolph Menzel, German Impressionists especially Max Liebermann, Lovis Corinth, August von Brandis and Max Slevogt
Neue Pinakothek
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The new home of the Neue Pinakothek, opened in 1981
Neue Pinakothek
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Neue Pinakothek 1880
Neue Pinakothek
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Gauguin's The Birth of Christ (1896), which brought Hugo von Tschudi to Munich and became the foundation of the Pinokathek's modern art collection
Neue Pinakothek
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Francisco de Goya Plucked Turkey (1810).
36.
Versailles (city)
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According to the 2008 census, the population of the city is 88,641 inhabitants, down from a peak of 94,145 in 1975. A new town, founded by the will of King Louis XIV, it was the de facto capital of the Kingdom of France for over a century, from 1682 to 1789, before becoming the cradle of the French Revolution. After having lost its status of city, it became the préfecture of Seine-et-Oise département in 1790, then of Yvelines in 1968. Versailles is historically known for numerous treaties such as the Treaty of Paris, which ended the American Revolutionary War and this word formation is similar to Latin seminare which gave French semailles. From May 1682, when Louis XIV moved the court and government permanently to Versailles, until his death in September 1715, during the various periods when government affairs were conducted from Versailles, Paris remained the official capital of France. Versailles was made the préfecture of the Seine-et-Oise département at its inception in March 1790, Versailles was made the préfecture of the Yvelines département, the largest chunk of the former Seine-et-Oise. At the 2006 census the Yvelines had 1,395,804 inhabitants, Versailles is the seat of a Roman Catholic diocese which was created in 1790. The diocese of Versailles is subordinate to the archdiocese of Paris, in 1975, Versailles was made the seat of a Court of Appeal whose jurisdiction covers the western suburbs of Paris. Since 1972, Versailles has been the seat of one of Frances 30 nationwide académies of the Ministry of National Education. Versailles is also an important node for the French army, a tradition going back to the monarchy with, for instance, the palace of Versailles is in the out-skirts of the city. Versailles is located 17.1 km west-southwest from the centre of Paris, the city of Versailles has an area of 26.18 km2, which is a quarter of the area of the city of Paris. In 1989, Versailles had a density of 3, 344/km2, whereas Paris had a density of 20. Born out of the will of a king, the city has a rational and symmetrical grid of streets, by the standards of the 18th century, Versailles was a very modern European city. Versailles was used as a model for the building of Washington, the name of Versailles appears for the first time in a medieval document dated 1038. In the end of the 11th century, the village curled around a medieval castle, the 14th century brought the Black Death and the Hundred Years War, and with it death and destruction. At the end of the Hundred Years War in the 15th century, in 1561, Martial de Loménie, secretary of state for finances under King Charles IX, became lord of Versailles. He obtained permission to four annual fairs and a weekly market on Thursdays. The population of Versailles was 500 inhabitants, Martial de Loménie was murdered during the St. Bartholomews Day massacre
Versailles (city)
Versailles (city)
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Flag
Versailles (city)
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Louis XIII built the original hunting lodge that will become the
Palace of Versailles under his son and successor Louis XIV
Versailles (city)
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Versailles in 1789.
37.
Waddesdon Manor
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Waddesdon Manor is a country house in the village of Waddesdon, in Buckinghamshire, England. It is located in the Aylesbury Vale,6.6 miles west of Aylesbury, the house was built in the Neo-Renaissance style of a French château between 1874 and 1889 for Baron Ferdinand de Rothschild as a weekend residence for grand entertaining. The last member of the Rothschild family to own Waddesdon was James de Rothschild and he bequeathed the house and its contents to the National Trust. It is now administered by a Rothschild charitable trust that is overseen by Jacob Rothschild and it is one of the National Trusts most visited properties, with around 335,000 visitors annually. Prior to the construction of Waddesdon Manor, no house existed on the site, Ferdinand de Rothschild wanted a house in the style of the great Renaissance châteaux of the Loire Valley. The Baron, a member of the Viennese branch of the Rothschild banking dynasty, Destailleur was already experienced in working in this style, having overseen the restoration of many châteaux in that region, in particular that of the Château de Mouchy. Through Destailleurs vision, Waddesdon embodied an eclectic style based on the châteaux so admired by his patron, Baron Ferdinand. The towers at Waddesdon were based on those of the Château de Maintenon, however, following the theme of unparalleled luxury at Waddesdon, the windows of the towers at Waddesdon were glazed, unlike those of the staircase at Chambord. They are also far more ornate, the structural design of Waddesdon, however, was not all retrospective. The house also had hot and cold running water in its bathrooms, central heating, the building contractor was Edward Conder & Son. Works were acquired for their quality and fine provenance. One of the highlights of the collection is the extraordinary musical automaton elephant, dating from 1774, in the 1890s, Baron Ferdinand focused on the Renaissance collection for his small museum in the New Smoking Room. This collection was bequeathed to the British Museum and is now known as the Waddesdon Bequest, the interior of Waddesdon Manor was photographed in 1897 for Baron Ferdinands privately published The Red Book. Subsequent owners added noted collections of Limoges enamel, arms and armour, maiolica, medieval manuscripts, prints, extensive landscaping of the hill was carried out, including leveling the top. The gardens and landscape park were laid out by the French landscape architect Elie Lainé, an attempt was made to transplant full-grown trees by chloroforming their roots, to limit the shock. While this novel idea was unsuccessful, many large trees were successfully transplanted. The gardens were enhanced with statuary, pavilions and an aviary that is still in use, the Proserpina fountain was brought to the Manor at the end of the 19th century from the Palace of the Dukes of Parma in northern Italy, the Ducal Palace of Colorno. The gardens are listed Grade I on the Register of Historic Parks, Baron Ferdinand played host to many important guests including the future Edward VII
Waddesdon Manor
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Waddesdon Manor. The north entrance
facade.
Waddesdon Manor
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The towers were modelled on the towers of
Château de Maintenon.
Waddesdon Manor
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One of the twin staircase-towers inspired by those at the Château de Chambord.
Waddesdon Manor
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Plan of Waddesdon's ground floor. 1:Vestibule; 2:Entrance Hall, 3 Red Drawing room; 4:Grey Drawing Room; 5:Library; 6:Baron's Sitting room; 7:Morning Room; 8:West Hall; 9:West Gallery; 10:East Gallery; 11:Dining Room; 12:Conservatory; 13:Breakfast Room; 14:Kitchen; 15:Servant's Hall; 16:Housekeeper's Rooms; 17:Site of further servants quarters (not illustrated); 18:Terrace and parterre; 19 North Drive; St:staircases.
38.
Los Angeles County Museum of Art
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The Los Angeles County Museum of Art is an art museum located on Wilshire Boulevard in the Miracle Mile vicinity of Los Angeles. LACMA is on Museum Row, adjacent to the La Brea Tar Pits, LACMA is the largest art museum in the western United States. It attracts nearly a million visitors annually and it holds more than 150,000 works spanning the history of art from ancient times to the present. In addition to art exhibits, the museum features film and concert series, the Los Angeles County Museum of Art was established as a museum in 1961. Prior to this, LACMA was part of the Los Angeles Museum of History, Science and Art, howard F. Ahmanson, Sr. Anna Bing Arnold and Bart Lytton were the first principal patrons of the museum. Ahmanson made the donation of $2 million, convincing the museum board that sufficient funds could be raised to establish the new museum. In 1965 the museum moved to a new Wilshire Boulevard complex as an independent, art-focused institution, the largest new museum to be built in the United States after the National Gallery of Art. The museum, built in a similar to Lincoln Center. The board selected LA architect William Pereira over the recommendation of Ludwig Mies van der Rohe for the buildings. According to a 1965 Los Angeles Times story, the total cost of the three buildings was $11.5 million, at the time, the Los Angeles Music Center and LACMA were concurrent large civic projects which vied for attention and donors in Los Angeles. When the museum opened, the buildings were surrounded by reflecting pools, in the far-reaching expansion, museum-goers henceforth entered through the new partially roofed central court, nearly an acre of space bounded by the museums four buildings. The museums Pavilion for Japanese Art, designed by maverick architect Bruce Goff, opened in 1988, gerald Cantor Sculpture Garden of Rodin bronzes. In 1999, the Hancock Park Improvement Project was complete, kohlhaas edged out French architect Jean Nouvel, who would have added a major building while renovating the older facilities. The list of candidates had narrowed to five in May 2001, Koolhaas, Nouvel, Steven Holl, Daniel Libeskind. However, the project stalled after the museum failed to secure funding. In 2004 LACMAs Board of Trustees unanimously approved plans to transform the museum, the planned transformation consisted of three phases. Phase I started in 2004 and was completed in February 2008, the renovations required demolishing the parking structure on Ogden Avenue and with it LACMA-commissioned graffiti art by street artists Margaret Kilgallen and Barry McGee. The entry pavilion is a key point in architect Renzo Pianos plan to unify LACMAs sprawling, the BP Grand Entrance and the adjacent Broad Contemporary Art Museum comprise the $191 million first phase of the three-part expansion and renovation campaign
Los Angeles County Museum of Art
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Los Angeles County Museum of Art (LACMA)
Los Angeles County Museum of Art
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Wilshire Boulevard and the Art Museum in 1965.
Los Angeles County Museum of Art
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LACMA West, the
former May Company building on the corner of
Wilshire Boulevard and
Fairfax Avenue, future home of
The Academy Museum of Motion Pictures
Los Angeles County Museum of Art
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Former
LACMA parking garage mural by
Barry McGee
39.
Metropolitan Museum of Art
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The Metropolitan Museum of Art, colloquially the Met, is located in New York City and is the largest art museum in the United States, and is among the most visited art museums in the world. Its permanent collection contains two million works, divided among seventeen curatorial departments. The main building, on the edge of Central Park along Manhattans Museum Mile, is by area one of the worlds largest art galleries. A much smaller second location, The Cloisters at Fort Tryon Park in Upper Manhattan, contains a collection of art, architecture. On March 18,2016, the museum opened the Met Breuer museum at Madison Avenue in the Upper East Side, it extends the museums modern, the Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, Indian, and Islamic art. The museum is home to collections of musical instruments, costumes and accessories, as well as antique weapons. Several notable interiors, ranging from first-century Rome through modern American design, are installed in its galleries, the Metropolitan Museum of Art was founded in 1870. The founders included businessmen and financiers, as well as leading artists and thinkers of the day and it opened on February 20,1872, and was originally located at 681 Fifth Avenue. The Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, the museum is also home to encyclopedic collections of musical instruments, costumes and accessories, and antique weapons and armor from around the world. A number of interiors, ranging from 1st century Rome through modern American design, are permanently installed in the Mets galleries. In addition to its permanent exhibitions, the Met organizes and hosts traveling shows throughout the year. The director of the museum is Thomas P. Campbell, a long-time curator and it was announced on February 28th,2017 that Campbell will be stepping down as the Mets director and CEO, effective June. On March 1st,2017 the BBC reported that Daniel Weiss shall be the acting CEO until a replacement is found, Beginning in the late 19th century, the Met started to acquire ancient art and artifacts from the Near East. From a few tablets and seals, the Mets collection of Near Eastern art has grown to more than 7,000 pieces. The highlights of the include a set of monumental stone lamassu, or guardian figures. The Mets Department of Arms and Armor is one of the museums most popular collections. Among the collections 14,000 objects are many pieces made for and used by kings and princes, including armor belonging to Henry VIII of England, Henry II of France, Rockefeller donated his more than 3, 000-piece collection to the museum. The Mets Asian department holds a collection of Asian art, of more than 35,000 pieces, the collection dates back almost to the founding of the museum, many of the philanthropists who made the earliest gifts to the museum included Asian art in their collections
Metropolitan Museum of Art
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The Metropolitan Museum of Art
Metropolitan Museum of Art
Metropolitan Museum of Art
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The facade of the Met dominates the city's "
Museum Mile ".
Metropolitan Museum of Art
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The Great Hall
40.
Princeton University Art Museum
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The Princeton University Art Museum is the Princeton Universitys gallery of art, located in Princeton, New Jersey. Founded in 1882, it now houses over 92,000 works of art that range from antiquity to the contemporary period and its collections concentrate on the Mediterranean region, Western Europe, China, the United States, and Latin America. The Museum has a collection of Greek and Roman antiquities, including ceramics, marbles, bronzes. Medieval Europe is represented by sculpture, metalwork, and stained glass, the collection of Western European paintings includes examples from the early Renaissance through the nineteenth century, and there is a growing collection of twentieth-century and contemporary art. Photographic holdings are a strength, numbering over 27,000 works from the invention of daguerreotype in 1839 to the present. The Museum is also noted for its Asian art gallery, which includes a collection of Chinese calligraphy, painting, ancient bronze works, jade carvings. In addition to its collections, the Museum mounts regular temporary exhibitions featuring works from its own holdings as well as made from public. Admission is free and the Museum is open Tuesday, Wednesday, Friday, and Saturday,10,00 am to 5,00 pm, Thursday,10,00 am to 10,00 pm, and Sunday 1,00 to 5,00 pm. The portrait was a donation from Belcher himself, given shortly before the College moved in 1756 to the newly built Nassau Hall and it was joined by a portrait of King George II, who had issued the letters patent establishing the College. The two portraits hung in the prayer hall, and were displayed alongside various antiquities and objects of natural history. The creation of the Art Museum in a formal sense took place under the leadership of James McCosh. The Scottish McCosh brought with him from Europe new progressive academic disciplines, by 1882, McCosh charged William Cowper Prime, a Princeton alumnus and founding trustee of the Metropolitan Museum of Art, and George B. McClellan, the Civil War general and then Governor of New Jersey and they argued, The foundation of any system of education in Historic Art must obviously be in object study. A museum of art objects is so necessary to the system that without it we are of opinion it would be of utility to introduce the proposed department. ”The intention was to go beyond the fields of art and classics to include, “many other branches of the collegiate course. ”They anticipated, “large future growth, ” as the College could “look with confidence to her sons, in all parts of the world. The collections of the Museum were initially held in Nassau Hall, along with the natural history collection of professor Arnold Henry Guyot. A new purpose-built fireproof Romanesque Revival Museum was designed by A, page Brown and completed in 1890 on the site of the current museum. On completion of the building the Museum received the Trumball-Prime collection of pottery and porcelain from William Prime, early additions included the purchase of a large collection of Cypriot pottery from the Metropolitan Museum in 1890, and purchases of Etruscan, Roman, and South Italian pottery. Marquand established an endowment from his own resources to further purchases
Princeton University Art Museum
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Princeton University Art Museum
Princeton University Art Museum
Princeton University Art Museum
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Hieronymus Bosch or a member of his circle, Christ Before Pilate, ca. 1520, gift of Allan Marquand
Princeton University Art Museum
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Paul Cézanne, The Bathers, 1898, gift of Frank Jewett Mather Jr.,
Color lithograph
41.
Harvard Art Museums
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The Harvard Art Museums are part of Harvard University and comprise three museums, the Fogg Museum, the Busch-Reisinger Museum, and the Arthur M. The three museums that constitute the Harvard Art Museums were initially integrated into an institution under the name Harvard University Art Museums in 1983. The word University was dropped from the name in 2008. In 2008, the Harvard Art Museums historic building at 32 Quincy Street, in a view of the front facade, the glass roof and other expansions are mostly concealed, largely preserving the original appearance of the building. The renovation adds six levels of galleries, classrooms, lecture halls, the new building was opened in November 2014. The museum was housed in an Italian Renaissance-style building designed by Richard Morris Hunt. In 1925, the building was replaced by a Georgian Revival-style structure on Quincy Street, designed by Coolidge, Shepley, Bulfinch, and Abbott. The Fogg Museum is renowned for its holdings of Western paintings, sculpture, decorative arts, photographs, prints, particular strengths include Italian Renaissance, British Pre-Raphaelite, and French art of the 19th century, as well as 19th- and 20th-century American paintings and drawings. Central to the Foggs holdings is the Grenville L. Winthrop Collection, flemish Renaissance paintings — Master of Catholic Kings, Jan Provoost, Master of Holy Blood, Aelbert Bouts, and Master of Saint Ursula. Italian Renaissance period paintings — Fra Angelico, Sandro Botticelli, Domenico Ghirlandaio, Gherardo Starnina, Cosme Tura, Giovanni di Paolo, French Baroque period paintings — Nicolas Poussin, Jacques Stella, Nicolas Regnier, and Philippe de Champaigne. Dutch Master paintings — Rembrandt, Emanuel de Witte, Jan Steen, Willem Van de Velde, Jacob Van Ruisdael, Salomon van Ruysdael, Jan van der Heyden, william James spoke at its dedication. Its holdings include significant works of Austrian Secession art, German expressionism, 1920s abstraction, other strengths include late medieval sculpture and 18th-century art. It has sculpture by Alfred Barye, Kathe Kollwitz, George Minne, from 1921 to 1991, the Busch-Reisinger was located in Adolphus Busch Hall at 29 Kirkland Street. In 1991, the Busch-Reisinger moved to the new Werner Otto Hall, designed by Gwathmey Siegel & Associates, kuno Francke, 1903-1930 Charles L. Kuhn, 1930-1968 Peter Nisbet Lynette Roth The Arthur M. Sackler Museum opened in 1985. The museum building, which was designed by British architect James Stirling, was named for the donor, Arthur M. Sackler, a psychiatrist, entrepreneur. The museum also housed offices for the History of Art and Architecture faculty, as of 2016, the old Sackler Museum building houses the History of Art and Architecture Department and the Media Slide Library. The ancient Mediterranean and Byzantine collections comprise significant works in all media from Greece, Rome, Egypt, strengths include Greek vases, small bronzes, and coins from throughout the ancient Mediterranean world. The building is remarkable for the creative virtuosity with which its functions are accommodated while suggesting a monumentality that belies actual dimensions, Stirling was lucky to have as a client the director of the Fogg, Seymour Slive, who understood this achievement immediately
Harvard Art Museums
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History
42.
Museum of Fine Arts, Boston
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The Museum of Fine Arts in Boston, Massachusetts, is the fourth largest museum in the United States. It contains more than 450,000 works of art, making it one of the most comprehensive collections in the Americas, with more than one million visitors a year, it is the 55th most-visited art museum in the world as of 2014. Founded in 1870, the moved to its current location in 1909. The museum is affiliated with the Tufts School of the Museum of Fine Arts, the Museum of Fine Arts was founded in 1870 and opened in 1876, with most of its initial collection taken from the Boston Athenæum Art Gallery. Francis Davis Millet, a local artist, was instrumental in starting the Art School affiliated with the museum and it was built almost entirely of red brick and terracotta with a small amount of stone in its base. The brick was produced by the Peerless Brick Company of Philadelphia, in 1907, plans were laid to build a new home for the museum on Huntington Avenue in Bostons Fenway-Kenmore neighborhood near the renowned Isabella Stewart Gardner Museum. Museum trustees decided to hire architect Guy Lowell to create a design for a museum so that could be built in stages as funding was obtained for each phase, two years later, the first section of Lowell’s neoclassical design was completed. It featured a 500-foot façade of granite and a grand rotunda, the museum moved to its new location later that year, the Copley Square Hotel eventually would replace the old building. The second phase of construction built a wing along the The Fens to house paintings galleries and it was funded entirely by Maria Antoinette Evans Hunt, the wife of wealthy business magnate Robert Dawson Evans, and opened in 1915. From 1916 through 1925, the noted artist John Singer Sargent painted the frescoes that adorn the rotunda, numerous additions enlarged the building throughout the years, including the Decorative Arts wing in 1928 and the Norma Jean Calderwood Garden Court and Terrace in 1997. The West Wing, designed by I. M. Pei, opened in 1981 and this wing now houses the museums cafe, restaurant, and gift shop as well as a special exhibition space. In the mid-2000s, the museum launched an effort to renovate. In 2011, Moodys Investors Service calculated that the museum had over $180 million in outstanding debt, however, the agency cited growing attendance, a large endowment, and positive cash flow as reasons to believe that the museums finances would become stable in the near future. The renovation included a new Art of the Americas Wing to feature artwork from North, South, in 2006, the groundbreaking ceremonies took place. The landscape architecture firm Gustafson Guthrie Nichol redesigned the Huntington Avenue and Fenway entrances, gardens, access roads, the wing opened on November 20,2010 with free admission to the public. Mayor Thomas Menino declared it Museum of Fine Arts Day, the 12, 000-square-foot glass-enclosed courtyard features a 42. 5-foot high glass sculpture, titled the Lime Green Icicle Tower, by Dale Chihuly. In 2014, the Art of the Americas Wing was recognized for its architectural achievement by being awarded the Harleston Parker Medal. In 2015, the museum renovated its Japanese garden, Tenshin-en, the garden, which originally opened in 1988, was designed by Japanese professor Kinsaku Nakane
Museum of Fine Arts, Boston
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Museum of Fine Arts, Boston
Museum of Fine Arts, Boston
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A view of the original Museum of Fine Arts building in Copley Square.
Museum of Fine Arts, Boston
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Cyrus Dallin 's
Appeal to the Great Spirit stands outside the museum's Huntington Avenue entrance.
Museum of Fine Arts, Boston
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Tenshin-en, the museum's Japanese garden
43.
National Gallery
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The National Gallery is an art museum in Trafalgar Square in the City of Westminster, in Central London. Founded in 1824, it houses a collection of over 2,300 paintings dating from the century to 1900. The Gallery is a charity, and a non-departmental public body of the Department for Culture, Media. Its collection belongs to the public of the United Kingdom and entry to the collection is free of charge. It is among the most visited art museums in the world, after the Musée du Louvre, the British Museum, unlike comparable museums in continental Europe, the National Gallery was not formed by nationalising an existing royal or princely art collection. It came into being when the British government bought 38 paintings from the heirs of John Julius Angerstein, after that initial purchase the Gallery was shaped mainly by its early directors, notably Sir Charles Lock Eastlake, and by private donations, which comprise two-thirds of the collection. It used to be claimed that this was one of the few national galleries that had all its works on permanent exhibition, the present building, the third to house the National Gallery, was designed by William Wilkins from 1832 to 1838. Only the façade onto Trafalgar Square remains essentially unchanged from this time, wilkinss building was often criticised for the perceived weaknesses of its design and for its lack of space, the latter problem led to the establishment of the Tate Gallery for British art in 1897. The Sainsbury Wing, an extension to the west by Robert Venturi, the current Director of the National Gallery is Gabriele Finaldi. The late 18th century saw the nationalisation of royal or princely art collections across mainland Europe, great Britain, however, did not emulate the continental model, and the British Royal Collection remains in the sovereigns possession today. In 1777 the British government had the opportunity to buy an art collection of international stature, the MP John Wilkes argued for the government to buy this invaluable treasure and suggested that it be housed in a noble gallery. The twenty-five paintings from that now in the Gallery, including NG1, have arrived by a variety of routes. This offer was declined and Bourgeois bequeathed the collection to his old school, Dulwich College, the collection opened in Britains first purpose-built public gallery, the Dulwich Picture Gallery, in 1814. The British Institution, founded in 1805 by a group of aristocratic connoisseurs, the members lent works to exhibitions that changed annually, while an art school was held in the summer months. However, as the paintings that were lent were often mediocre, some resented the Institution. One of the Institutions founding members, Sir George Beaumont, Bt, in 1823 another major art collection came on the market, which had been assembled by the recently deceased John Julius Angerstein. Angerstein was a Russian-born émigré banker based in London, his collection numbered 38 paintings, including works by Raphael, on 1 July 1823 George Agar Ellis, a Whig politician, proposed to the House of Commons that it purchase the collection. The appeal was given added impetus by Beaumonts offer, which came with two conditions, that the government buy Angersteins collection, and that a building was to be found
National Gallery
National Gallery
–
The Raising of Lazarus by
Sebastiano del Piombo, from the collection of
John Julius Angerstein. This became the founding collection of the National Gallery in 1824. The painting has the
accession number NG1, making it officially the first painting to enter the Gallery.
National Gallery
–
100
Pall Mall, the home of the National Gallery from 1824 to 1834.
National Gallery
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The Baptism of Christ by
Piero della Francesca, one of Eastlake's purchases.
44.
Yale University Art Gallery
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The Yale University Art Gallery houses a significant and encyclopedic collection of art in several buildings on the campus of Yale University in New Haven, Connecticut. Although it embraces all cultures and periods, the gallery emphasizes early Italian painting, African sculpture, the Yale University Art Gallery is the oldest university art museum in the western hemisphere. The gallery was founded in 1832, when patriot-artist, John Trumbull, donated more than 100 paintings of the American Revolution to Yale College and this building, on the universitys Old Campus, was razed in 1901. The gallerys main building was built in 1953, and was among the first designed by Louis Kahn, a complete renovation, which returned many spaces to Kahns original vision, was completed in December 2006, by Polshek Partnership Architects. The older Tuscan romanesque portion was built in 1928, and was designed by Egerton Swartwout, the Gallery reopened on December 12,2012, after a 14-year renovation and expansion project at a cost of $135 million. The expanded space totals 69,975 sq ft, the museum is a member of the North American Reciprocal Museums program. On the second floor was a valuable collection of paintings by John Trumbull. Among them were his paintings of the Battle of Bunker Hill, Death of Montgomery before Quebec, Surrender of Lord Cornwallis, Declaration of Independence. Trumbull gave the paintings to Yale in consideration of an annuity of $1,000 and subject to the condition that he, the Gallery’s encyclopedic collections number more than 185,000 objects ranging in date from ancient times to the present day. The permanent collection includes, African Art, over 1000 objects in wood, metal, ivory, American Decorative Arts, about 18,000 objects in silver, glass, wood, porcelain, and textile with an emphasis on the colonial and early federal periods. Ancient Art, over 13,000 objects from the Near East, Egypt, Greece, Etruria, Art of the Ancient Americas, Mayan and Olmec figurines, vessels and sculptures. Prints, Drawings, and Photographs In 2005, the announced that it had acquired 1,465 gelatin silver prints by the influential American landscape photographer. In 2009, the museum mounted an exhibition of its collection of Picasso paintings and drawings. For the first time, portions of the Yale University Librarys, as an affiliate of Yale University, the gallery maintains a robust roster of education programs for university students, New Haven schools, and the general public. One such program is the Gallery Guide program, founded in 1998, the Yale Art Gallery charges no admission
Yale University Art Gallery
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Yale University Art Gallery
Yale University Art Gallery
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Miniature of
George Washington by
Robert Field (1800)
Yale University Art Gallery
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Antiquities at the Yale University Art Gallery
Yale University Art Gallery
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The Death of General Montgomery in the Attack on Quebec, 1786,
John Trumbull
45.
Grand Trianon
–
The Grand Trianon is a château situated in the northwestern part of the Domain of Versailles. The Grand Trianon is set within its own park, which includes the Petit Trianon, in 1668, Louis XIV purchased Trianon, a hamlet on the outskirts of Versailles, and commissioned the architect Louis Le Vau to design a porcelain pavilion to be built there. The façade was made of white and blue Delft-style porcelain tiles from the French manufactures of Rouen, Lisieux, Nevers, construction began in 1670 and was finished in 1672. By 1687, the ceramic tiles had deteriorated to such a point that Louis XIV ordered the demolition of the pavilion. Commission of the work was entrusted to the architect Jules Hardouin Mansart, hardouin-Mansarts new structure was twice the size of the porcelain pavilion and the material used was red marble of Languedoc. Begun in June 1687, the new construction was finished in January 1688 and inaugurated by Louis XIV and his secret wife, the Grand Trianon would often play host to the King and his wife. The first set of Grands apartments lasted from 1688 to 1691, the next was from 1691 till 1701, then 1701 till his death at Versailles in 1715. From 1703 to 1711, the building was the residence of le Grand Dauphin, the domain was a favourite of the Duchess of Burgundy, the wife of his grandson Louis de France, the parents of Louis XV. In the later years of Louis XIVs reign, the Trianon was the residence of the Kings sister-in-law Elizabeth Charlotte of the Palatinate, Dowager Duchess of Orléans and her son, Philippe dOrléans, future son-in-law of Louis XIV and Regent of France, lived there with his mother. The Kings youngest grandson Charles de France and his wife Marie Louise Élisabeth dOrléans also resided there. In 1717, Peter the Great of Russia, who was studying the palace and gardens of Versailles, resided at the Grand Trianon, Louis XV did not bring any changes to the Grand Trianon. In 1740 and 1743, his father-in-law, Stanislas Leszczynski, former king of Poland stayed there during his visits to Versailles. Later, it was during a stay at Trianon that Louis XV fell ill before being transported to the Palace of Versailles, no more than his predecessor had, Louis XVI brought no structural modifications to the Grand Trianon. During the French Revolution of 1789, the Grand Trianon was left to neglect, at the time of the First French Empire, Napoleon made it one of his residences, and furnished it in the Empire Style. Napoleon lived at Trianon with his second wife Marie Louise of Austria, to the Hungarians, the word Trianon remains to this day the symbol of one of their worst national disasters. 1963 saw Charles de Gaulle order a renovation of the building, a popular site for tourists visiting Versailles, it is also one of the French Republic presidential residences used to host foreign officials
Grand Trianon
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The Grand Trianon in 1700
Grand Trianon
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The Grand Trianon Castle in Summer
Grand Trianon
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Peristyle of the Grand Trianon.
Grand Trianon
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The Grand Trianon Castle Interior
46.
Yale University Press
–
Yale University Press is a university press associated with Yale University. It was founded in 1908 by George Parmly Day, and became a department of Yale University in 1961. As of 2009, Yale University Press published approximately 300 new hardcover and 150 new paperback books annually and has more than 6,000 books in print and its books have won five National Book Awards, two National Book Critics Circle Awards and eight Pulitzer Prizes. Since its inception in 1919, the Yale Series of Younger Poets Competition has published the first collection of poetry by new poets, the first winner was Howard Buck, the 2011 winner was Katherine Larson. Yale University Press and Yale Repertory Theatre jointly sponsor the Yale Drama Series, the winner of the annual competition is awarded the David C. Horn Prize of $10,000, publication of his/her manuscript by Yale University Press, the Yale Drama Series and David C. Horn Prize are funded by the David Charles Horn Foundation, in 2007, Yale University Press acquired the Anchor Bible Series, a collection of more than 115 volumes of biblical scholarship, from the Doubleday Publishing Group. New and backlist titles are now published under the Anchor Yale Bible Series name, the Dwight H. Terry Lectureship was established in 1905 to encourage the consideration of religion in the context of modern science, psychology, and philosophy. Many of the lectures, which are hosted by Yale University, have been edited into book form by the Yale University Press, the Yale Publishing Course was founded in 2010 by former Publishing Director of the Yale University Press, Tina C. It filled the gap created by the closing of the legendary Stanford Publishing Course and it operates under the aegis of the Office of International Affairs of Yale University. The Course trains mid to senior-level publishing professionals to tackle the most compelling issues facing the publishing industry, the curriculum focuses on in-depth analyses of global trends, innovative business models, management strategies, and new advances in technology. Its immersive week-long programs, one devoted to publishing and the other to magazine and digital publishing, combine lectures, discussion groups. The faculty is made up of leading experts and members of the Yale School of Management, the Yale Library. Participants come from all over the world and represent all areas of publishing within organizations of all sizes and types of publications, in 1963, the Press published a revised edition of Ludwig von Misess Human Action. Official website, including a mission statement Yale University Press, London Yale Publishing Course, New Haven, Connecticut
Yale University Press
–
George Parmly Day, founder of the Yale University Press
Yale University Press
–
People
47.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
International Standard Book Number
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A 13-digit ISBN, 978-3-16-148410-0, as represented by an
EAN-13 bar code
48.
Nicolas Lancret
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Nicolas Lancret, French painter, was born in Paris, and became a brilliant depicter of light comedy which reflected the tastes and manners of French society under the regent Orleans. His first master was Pierre dUlin, but his acquaintance with and admiration for Watteau induced him to leave dUlin for Gillot, whose pupil Watteau had been. Lancret, who remained a pupil of Gillot from 1712–1713, was influenced by the older painter. In 1718 he was received as an Academician, from becoming a very respected artist. He completed works to decorate the Palace of Versailles, while his style was later to prove popular with Frederick the Great, Lancrets populairty was reflected by the decision to make him a councillor at the Academie in 1735. Lancret completed numerous paintings, a significant proportion of which were engraved, although he completed several portraits and historical pieces his favourite subjects were balls, fairs, village weddings and so forth. In this respect he was typical of Rococo artists, some have claimed Lancrets work is significantly inferior to that of Watteau. In drawing and in painting his touch is often considered intelligent but dry, art historian Michael Levey remarked that Lancret was no poet, Lancrets characteristics are due possibly to the fact that he had been for some time in training under an engraver. These changes displayed the influence of later Watteaus like LEnseigne de Gersaint, Lancrets last painting, Family in a Garden, The National Gallery, is considered by Levey to be his masterpiece. The scene, which depicts a family taking coffee, has an intimacy, Lancret was single for much of his life, however in 1741 he married the 18-year-old grandchild of Boursault, author of Aesop at Court. Supposedly Lancret was induced to marry her after finding her and her mother living in poverty in an attic room. Lancret died of pneumonia on 14 September 1743 and this article incorporates text from a publication now in the public domain, Chisholm, Hugh, ed. article name needed. See dArgenville, Vies des peintres, and Ballot de Sovot, Éloge de M. Lancret
Nicolas Lancret
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Lancret (self-portrait)
Nicolas Lancret
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Marie-Anne de Camargo, 1730
Nicolas Lancret
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Le Déjeuner de jambon, Chantilly,
musée Condé, 1735
Nicolas Lancret
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La Servante justifiée, 1735-1740
49.
JSTOR
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JSTOR is a digital library founded in 1995. Originally containing digitized back issues of journals, it now also includes books and primary sources. It provides full-text searches of almost 2,000 journals, more than 8,000 institutions in more than 160 countries have access to JSTOR, most access is by subscription, but some older public domain content is freely available to anyone. William G. Bowen, president of Princeton University from 1972 to 1988, JSTOR originally was conceived as a solution to one of the problems faced by libraries, especially research and university libraries, due to the increasing number of academic journals in existence. Most libraries found it prohibitively expensive in terms of cost and space to maintain a collection of journals. By digitizing many journal titles, JSTOR allowed libraries to outsource the storage of journals with the confidence that they would remain available long-term, online access and full-text search ability improved access dramatically. Bowen initially considered using CD-ROMs for distribution, JSTOR was initiated in 1995 at seven different library sites, and originally encompassed ten economics and history journals. JSTOR access improved based on feedback from its sites. Special software was put in place to make pictures and graphs clear, with the success of this limited project, Bowen and Kevin Guthrie, then-president of JSTOR, wanted to expand the number of participating journals. They met with representatives of the Royal Society of London and an agreement was made to digitize the Philosophical Transactions of the Royal Society dating from its beginning in 1665, the work of adding these volumes to JSTOR was completed by December 2000. The Andrew W. Mellon Foundation funded JSTOR initially, until January 2009 JSTOR operated as an independent, self-sustaining nonprofit organization with offices in New York City and in Ann Arbor, Michigan. JSTOR content is provided by more than 900 publishers, the database contains more than 1,900 journal titles, in more than 50 disciplines. Each object is identified by an integer value, starting at 1. In addition to the site, the JSTOR labs group operates an open service that allows access to the contents of the archives for the purposes of corpus analysis at its Data for Research service. This site offers a facility with graphical indication of the article coverage. Users may create focused sets of articles and then request a dataset containing word and n-gram frequencies and they are notified when the dataset is ready and may download it in either XML or CSV formats. The service does not offer full-text, although academics may request that from JSTOR, JSTOR Plant Science is available in addition to the main site. The materials on JSTOR Plant Science are contributed through the Global Plants Initiative and are only to JSTOR
JSTOR
–
The JSTOR front page
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Media related to François Boucher at Wikimedia Commons
Boucher's Madame de Pompadour at Smarthistory.
