1.
Thomas Lawrence
–
Sir Thomas Lawrence PRA FRS was a leading English portrait painter and the fourth president of the Royal Academy. He was born in Bristol and began drawing in Devizes, where his father was an innkeeper, at the age of ten, having moved to Bath, he was supporting his family with his pastel portraits. At eighteen he went to London and soon established his reputation as a painter in oils, receiving his first royal commission. He stayed at the top of his profession until his death, aged 60, self-taught, he was a brilliant draughtsman and known for his gift of capturing a likeness, as well as his virtuoso handling of paint. He became an associate of the Royal Academy in 1791, a member in 1794. Lawrences love affairs were not happy and, in spite of his success, at his death, Lawrence was the most fashionable portrait painter in Europe. His reputation waned during Victorian times, but has since been partially restored, Thomas Lawrence was born at 6 Redcross Street, Bristol, the youngest surviving child of Thomas Lawrence, a supervisor of excise, and Lucy Read, the daughter of a clergyman. The couple had 16 children but only five survived infancy, Lawrences brother Andrew became a clergyman, William had a career in the army, sisters Lucy and Anne married a solicitor and a clergyman. Soon after Thomas was born his father decided to become an innkeeper and took over the White Lion Inn and next-door American Coffee House in Broad Street, Bristol. It was during the familys stay at the Black Bear Inn that Lawrence senior began to make use of his sons precocious talents for drawing and reciting poetry. Visitors would be greeted with the words Gentlemen, heres my son – will you have him recite from the poets, among those who listened to a recitation from Tom, or Tommy as he was called, was the actor David Garrick. Lawrences formal schooling was limited to two years at The Fort, a school in Bristol, when he was aged six to eight, and he also became accomplished in dancing, fencing, boxing and billiards. But once again Lawrence senior failed as a landlord and, in 1779, he was declared bankrupt, from now on, Lawrence was to support his parents with the money he earned from his portraits. The family settled at 2 Alfred Street in Bath, and the young Lawrence established himself as a portraitist in pastels, the oval portraits, for which he was soon charging three guineas, were about 12 inches by 10 inches, and usually portrayed a half-length. His sitters included the Duchess of Devonshire, Sarah Siddons, Sir Henry Harpur, Warren Hastings, sometime before his eighteenth birthday in 1787 Lawrence arrived in London, taking lodgings in Leicester Square, near to Joshua Reynolds studio. He was introduced to Reynolds, who advised him to study nature, Lawrence set up a studio at 41 Jermyn Street and installed his parents in a house in Greek Street. In the Royal Academy exhibition of 1788 Lawrence was represented by five portraits in pastels and one in oils, a medium he quickly mastered. Between 1787 and his death in 1830 he would miss two of the annual exhibitions, once,1809, in protest about the way his paintings had been displayed and once, in 1819
Thomas Lawrence
–
Thomas Lawrence,
Self-portrait, 1788
Thomas Lawrence
–
An early pastel portrait
Thomas Lawrence
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Lawrence's first royal commission:
Queen Charlotte
Thomas Lawrence
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Lawrence exhibited in 40 Royal Academy annual exhibitions
2.
Augustin Pajou
–
Augustin Pajou was a French sculptor, born in Paris. At eighteen he won the Prix de Rome, and at thirty exhibited his Pluton tenant Cerbère enchaîné, pajous portrait busts of Buffon and of Madame du Barry, and his statuette of Bossuet, are amongst his best works. When Bernard Poyet constructed the Fontaine des Innocents from the edifice of Pierre Lescot. Mention should also be made of his bust of Carlin Bertinazzi at the Comédie Française, Pajou was one of the main artists whose work was included in the collection of the Comédie-Française at the end of the 18th century. Others were Jean-Baptiste dHuez, Jean-Joseph Foucou, Simon-Louis Boizot and Pierre-François Berruer, Pajou was commissioned by Napoleon to make the copies of the Medici Lions now situated in the garden of the Villa Medici 1803. Pajou died in Paris on 8 May 1809, the Courtauld Institute of Art, the Frick Collection, Harvard University Art Museums, the Hermitage Museum, the Honolulu Museum of Art, the J. In 1795 she remarried to Pierre-Louis Martin, known as Saint-Martin who, after several careers, an amateur artist and collector, Saint-Martine produced several paintings of the city of Liège and had his portrait painted by Philippe-Auguste Hennequin. Flore divorced her husband in year 10 and died on 9 December 1841 at 30 rue de lOdéon in Paris. Attribution This article incorporates text from a now in the public domain, Chisholm, Hugh, ed. Pajou
Augustin Pajou
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Adélaïde Labille-Guiard - The Sculptor Augustin Pajou
Augustin Pajou
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Mercury, 1780
3.
Nicolas-Guy Brenet
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Nicolas-Guy Brenet was a French history painter. Brenet was born and died in Paris and he studied in the atelier of François Boucher, but abandoned his masters rococo manner in the 1760s, to paint in a conscious revival of the academic classicism of Nicolas Poussin. His cycle of paintings for Montmerle Charterhouse near Dijon lies securely in the mainstream of French religious painting. His enormous Battle of the Greeks and Trojans over the Body of Patroclus is an example of the new direction of art in France. In his unusual and precocious choice of subjects, as they were commissioned by the official Bâtiments du roi. His son, also a painter, was Nicolas-Guy-Antoine Brenet
Nicolas-Guy Brenet
–
Nicolas-Guy Brenet, Sleeping
Endymion, 1756. Worcester Art Museum,
Massachusetts, USA
4.
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
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Self portrait of Jacques-Louis David, 1794,
Musée du Louvre
Jacques-Louis David
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Mademoiselle Guimard as Terpsichore, 1774–5, an early work
Jacques-Louis David
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Equestrian portrait of Stanisław Kostka Potocki (1781)
Jacques-Louis David
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Oath of the Horatii (from 1786)
5.
Engraving
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Engraving is the practice of incising a design onto a hard, usually flat surface by cutting grooves into it. Wood engraving is a form of printing and is not covered in this article. Engraving was an important method of producing images on paper in artistic printmaking, in mapmaking. Other terms often used for printed engravings are copper engraving, copper-plate engraving or line engraving, hand engraving is a term sometimes used for engraving objects other than printing plates, to inscribe or decorate jewellery, firearms, trophies, knives and other fine metal goods. Traditional engravings in printmaking are also engraved, using just the same techniques to make the lines in the plate. Each graver is different and has its own use, engravers use a hardened steel tool called a burin, or graver, to cut the design into the surface, most traditionally a copper plate. Modern professional engravers can engrave with a resolution of up to 40 lines per mm in high grade work creating game scenes, dies used in mass production of molded parts are sometimes hand engraved to add special touches or certain information such as part numbers. In addition to engraving, there are engraving machines that require less human finesse and are not directly controlled by hand. They are usually used for lettering, using a pantographic system, there are versions for the insides of rings and also the outsides of larger pieces. Such machines are used for inscriptions on rings, lockets. Gravers come in a variety of shapes and sizes that yield different line types, the burin produces a unique and recognizable quality of line that is characterized by its steady, deliberate appearance and clean edges. The angle tint tool has a curved tip that is commonly used in printmaking. Florentine liners are flat-bottomed tools with multiple lines incised into them, ring gravers are made with particular shapes that are used by jewelry engravers in order to cut inscriptions inside rings. Flat gravers are used for work on letters, as well as wriggle cuts on most musical instrument engraving work, remove background. Knife gravers are for line engraving and very deep cuts, round gravers, and flat gravers with a radius, are commonly used on silver to create bright cuts, as well as other hard-to-cut metals such as nickel and steel. Square or V-point gravers are typically square or elongated diamond-shaped and used for cutting straight lines, V-point can be anywhere from 60 to 130 degrees, depending on purpose and effect. These gravers have very small cutting points, other tools such as mezzotint rockers, roulets and burnishers are used for texturing effects. Burnishing tools can also be used for stone setting techniques
Engraving
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St. Jerome in His Study (1514), an engraving by Northern Renaissance master
Albrecht Dürer
Engraving
–
Artist and engraver
Chaim Goldberg at work
Engraving
–
An assortment of hand engraving tools
Engraving
–
At an engravers workshop: Miniature engraving on a
Louis George watch movement: Smallest engraving of the royal
Prussian eagle on a watch movement. It takes about 100 passes to create the figure.
6.
Baron of the Empire
–
Napoleon I created titles of nobility to institute a stable elite in the First French Empire, after the instability resulting from the French Revolution. Like many others, both before and since, Napoleon found that the ability to confer titles was also a tool of patronage which cost the state little treasure. The Grand Dignitaries of the Empire ranked, regardless of noble title, enoblement started in 1804 with the creation of the princely title for members of Napoleons imperial family. In 1806 ducal titles were created and in 1808 those of count, baron, Napoleon founded the concept of nobility of Empire by an imperial decree on 1 March 1808. The purpose of creation was to amalgamate the old nobility. This step, which aimed at the introduction of a elite, is fully in line with the creation of the Legion of Honour. A council of the seals and the titles was created and charged with establishing armorial bearings. These creations are to be distinguished from an order such as the Order of the Bath. These titles of nobility did not have any true privileges, with two exceptions, right of bearing, the lands granted with the title were held in a majorat. This nobility is essentially a nobility of service, to a large extent made up of soldiers, some civil servants, there were 239 remaining families belonging to the First Empire nobility in 1975. Of those, perhaps about 135 were titled, only one princely title and seven ducal titles remain today. Along with a new system of titles of nobility, the First French Empire also introduced a new system of heraldry, Napoleonic heraldry was based on traditional heraldry but was characterised by a stronger sense of hierarchy. It employed a system of additional marks in the shield to indicate official functions and positions. Another notable difference from traditional heraldry was the toques, which replaced coronets, the toques were surmounted by ostrich feathers, dukes had 7, counts had 5, barons 3, knights 1. The number of lambrequins was also regulated,3,2,1, as many grantees were new men, and the arms often alluded to their life or specific actions, many new or unusual charges were also introduced. The most characteristic mark of Napoleonic heraldry was the additional marks in the shield to indicate official functions and positions and these came in the form of quarters in various colours, and would be differenced further by marks of the specific rank or function. The said marks of the rank or function as used by Barons. A decree of 3 March 1810 states, The name, arms and this provision applied only to the bearers of Napoleonic titles
Baron of the Empire
–
Imperial coat of arms
7.
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
Prix de Rome
–
Palazzo Mancini, Rome, the seat of the Académie since 1725. Etching by
Giovanni Battista Piranesi, 1752.
Prix de Rome
–
The
Villa Medici as it looks today.
8.
Anne-Louis Girodet de Roussy-Trioson
–
Anne-Louis Girodet was a French painter and pupil of Jacques-Louis David, who participated in the early Romantic movement by including elements of eroticism in his paintings. Girodet is remembered for his precise and clear style and for his paintings of members of the Napoleonic family and he lost his parents in his early youth. The care of his inheritance and education fell to his guardian, M. Trioson, médecin-de-mesdames, Girodet took the surname Trioson in 1812. In school he first studied architecture and pursued a military career and he changed to the study of painting under a teacher named Luquin and then entered the school of Jacques-Louis David. At the age of 22 he successfully competed for the Prix de Rome with a painting of the Story of Joseph and his Brethren. From 1789 to 1793 he lived in Italy and while in Rome he painted his Hippocrate refusant les presents dArtaxerxes and Endymion-dormant, back in France, Girodet painted many portraits, including some of members of the Bonaparte family. In 1806, in competition with the Sabines of David, he exhibited his Scène de déluge and he returned top his theatrical style in La Révolte du Caire. Girodet was a member of the Academy of Painting and of the Institute of France, a knight of the order of St. Michael, at a sale of his effects after his death, some of his drawings realized enormous prices. Girodet produced a vast quantity of illustrations, amongst which may be cited those for the Didot Virgil, fifty-four of his designs for Anacreon were engraved by M. Châtillon. Delecluze, in his Louis David et son temps, has also a life of Girodet. Girodet, Romantic Rebel was the first retrospective in the United States devoted to the works of Anne-Louis Girodet de Roussy-Trioson, the exhibition assembled more than 100 seminal works that demonstrated the artists range as a painter as well as a draftsman. The peculiarities which mark Girodets position as the herald of the movement are already evident in his Sleep of Endymion. He has an inclination to the ancient style, and a statuary expression is very perceptible in his works. His drawing is correct, and of great precision, his colouring is rich, transparent and he works with equal care and genius. He loves to produce effect by strong lights but they are in unison with the spirit of the pieces. The same incongruity marks Girodets Danae and his Quatre Saisons, executed for the king of Spain, French painting 1774-1830, the Age of Revolution. New York, Detroit, The Metropolitan Museum of Art, The Detroit Institute of Arts, miscellaneous works Three portraits by Girodet Works of Girodet at http, //www. the-athenaeum. org
Anne-Louis Girodet de Roussy-Trioson
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Self-portrait, 1790, Hermitage Museum,
St. Petersburg,
Russia
Anne-Louis Girodet de Roussy-Trioson
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Self-portrait (1824).
Anne-Louis Girodet de Roussy-Trioson
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Oath of the Horatii Anne-Louis Girodet and Jacques-Louis David
Anne-Louis Girodet de Roussy-Trioson
–
Portrait of
Jean-Baptiste Belley, Deputy for Saint-Domingue
9.
Louis-Michel le Peletier, marquis de Saint-Fargeau
–
Louis-Michel le Peletier, Marquis of Saint-Fargeau was a French politician and martyr of the French revolution. Born in Paris, he belonged to a family, his great-grandfather, Michel Robert Le Peletier des Forts, count of Saint-Fargeau. After the death of his family, Le Peletier gained a vast amount of wealth. He entered into politics by becoming a lawyer in the employ of the Place du Châtelet, in 1785 Le Peletier was advanced to avocat-general. In 1789 he was elected to the Parlement of Paris, initially, he shared the conservative views of the majority of his class, but by degrees his ideas changed and became increasingly radical. On 13 July 1789 he demanded the recall of Necker, whose dismissal by the king had aroused great excitement in Paris, in the Constituent Assembly he moved the abolition of the death penalty, of the galleys and of branding, and the substitution of beheading for hanging. This attitude won him popularity, and on 21 June 1790 he was made president of the Constituent Assembly. He remained in position until 5 July 1790. During the existence of the Legislative Assembly, he was elected President of the General Council for the Yonne département in 1791 and he was then elected by this département to become a deputy to the Convention. Here he was in favor of the trial of Louis XVI by the Assembly and was a vote for the death of the king. While in the Convention, Le Peletier focused mainly on reform of education. It called for both males and females to be taught in schools and taught revolutionary ideas instead of the customary history, science, mathematics, language. His educational plan was supported by Robespierre and his ideas were borrowed in later schemes, on 20 January 1793, the eve of the kings execution, Le Peletier was assassinated in a restaurant in the Palais Royal. His murderer, Philippe Nicolas Marie de Pâris, a member of the Garde du Corps and his assassin fled to Normandy, where, on the point of being discovered, he supposedly shot himself in the head. Other sources claim the real murderer fled to England where he died years later, the Convention honored Louis Michel Le Peletier with a magnificent funeral. His body was displayed in the Place Vendôme beneath the statue of King Louis XIV, Le Peletier was buried in the Panthéon in Paris in 1793. His body was removed by his family on 14 February 1795, the station Saint-Fargeau of the Paris Métro is named for him. A Sèvres biscuit porcelain bust of Louis Michel Le Peletier is on display in the Château de Vizille, Isère
Louis-Michel le Peletier, marquis de Saint-Fargeau
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Posthumous
Sèvres biscuit porcelain bust
Louis-Michel le Peletier, marquis de Saint-Fargeau
–
Louis-Michel Lepeletier de Saint-Fargeau, by
Garneray, engraved by
Alix
Louis-Michel le Peletier, marquis de Saint-Fargeau
–
Les derniers moments de Michel Lepeletier, an engraving by Anatole Desvoge after the painting by
Jacques-Louis David
10.
Montparnasse Cemetery
–
Montparnasse Cemetery is a cemetery in the Montparnasse quarter of Paris, part of the citys 14th arrondissement. Created from three farms in 1824, the cemetery at Montparnasse was originally known as Le Cimetière du Sud, cemeteries had been banned from Paris since the closure, owing to health concerns, of the Cimetière des Innocents in 1786. At the heart of the city, and today sitting in the shadow of the Eiffel Tower, is Passy Cemetery, Montparnasse Cemetery is the resting place of many of Frances intellectual and artistic elite as well as publishers and others who promoted the works of authors and artists. There are also graves of foreigners who have made France their home, as well as monuments to police. The cemetery is divided by Rue Émile Richard, the small section is usually referred to as the small cemetery and the large section as the big cemetery. Although Baudelaire is buried in this cemetery, there is also a cenotaph to him, because of the many notable people buried there, it is a highly popular tourist attraction. Divisions 5 and 30 were originally Jewish enclosures and contain many Jewish graves, the main entrance to the cemetery is on Boulevard Edgar Quinet which leads to the big cemetery. There are smaller entrances to both the big and small cemeteries on Rue Émile Richard, list of burials at Montparnasse Cemetery A list of many buried at the cemetery Montparnasse Cemetery at Find a Grave Information and help in touring Montparnasse cemetery In English
Montparnasse Cemetery
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Montparnasse Cemetery
Montparnasse Cemetery
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The central roundabout, with an 1889 bronze statue by Horace Daillion
Montparnasse Cemetery
–
Tomb of
Charles Baudelaire.
Montparnasse Cemetery
–
Charles Baudelaire monument.
11.
10 August (French Revolution)
–
The Insurrection of 10 August 1792 was one of the defining events in the history of the French Revolution. The storming of the Tuileries Palace by the National Guard of the insurrectional Paris Commune and revolutionary fédérés from Marseilles, King Louis XVI and the royal family took shelter with the Legislative Assembly, which was suspended. The formal end of the monarchy that occurred six weeks later was one of the first acts of the new National Convention, the war declared on 20 April 1792 against the King of Bohemia and Hungary started badly. The initial battles were a disaster for the French, and Prussia joined Austria in active alliance against France, the blame for the disaster was thrown first upon the king and his ministers, and secondly upon the Girondin party. The King vetoed the decrees and dismissed Girondins from the Ministry, events came to a head on 16 June when Lafayette sent a letter to the Assembly, recommending the suppression of the anarchists and political clubs in the capital. The Kings veto of the Legislative Assemblys decrees was published on 19 June, the popular journée of 20 June 1792 was organized to put pressure on the King. The King, appearing before the crowd, put on the bonnet rouge of liberty and drank to the health of the nation and it was a brave but belated gesture. It could do nothing against the universal distrust in which the hero of 89 was now held, the deputies indicted the general for deserting his command. The king rejected all suggestions of escape from the man who had so long presided over his imprisonment, the crowd burnt him in effigy in the Palais-Royal. There was no place for such as Lafayette beside that republican emblem, within six weeks he was arrested whilst in flight to England, and immured in an Austrian prison. He failed because it clashed with national sentiment, the inaction in which he had kept the armies for more than 2 months past seemed inexplicable. It had given the Prussians time to finish their preparations and concentrate upon the Rhine undisturbed, six days later the Assembly declared La patrie est en danger. Banners were placed in the squares, bearing the words. That they devastate our fatherland through fire and murder, in a word, that they overcome you with chains dyed with the blood of those whom you hold the most dear. Citizens, the country is in danger. it is in the name of the King that liberty is being attacked, by this means he put the idea of deposing the King into the minds of the public. His speech, which made an impression, was circulated by the Assembly through all the departments. Evading the royal veto on a camp, the Assembly had invited National Guards from the provinces, on their way to the front, to come to Paris. These fédérés tended to have radical views than the deputies who had invited them
10 August (French Revolution)
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Prise du palais des Tuileries Jean Duplessis-Bertaux (fr) (1747-1819) National Museum of the Chateau de Versailles, 1793
10 August (French Revolution)
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Journée of 20 June 1792
10 August (French Revolution)
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The
Tuileries Palace, Louis XVI's residence at the time of the insurrection.
10 August (French Revolution)
–
Louis XVI inspecting loyal troops.
12.
Paris Salon
–
The Salon, or rarely Paris Salon, beginning in 1667 was the official art exhibition of the Académie des Beaux-Arts in Paris. Between 1748 and 1890 it was arguably the greatest annual or biennial art event in the Western world, at the 1761 Salon, thirty-three painters, nine sculptors, and eleven engravers contributed. From 1881 onward, it has been managed by the Société des Artistes Français, in 1667, the royally sanctioned French institution of art patronage, the Académie royale de peinture et de sculpture, held its first semi-public art exhibit at the Salon Carré. The Salons original focus was the display of the work of recent graduates of the École des Beaux-Arts, exhibition at the Salon de Paris was essential for any artist to achieve success in France for at least the next 200 years. Exhibition in the Salon marked a sign of royal favor, in 1725, the Salon was held in the Palace of the Louvre, when it became known as Salon or Salon de Paris. In 1737, the exhibitions, held from 18 August 1737 to 5 September 1737 at the Grand Salon of the Louvre and they were held, at first, annually, and then biennially, in odd-numbered years. They would start on the feast day of St. Louis, once made regular and public, the Salons status was never seriously in doubt. In 1748 a jury of awarded artists was introduced, from this time forward, the influence of the Salon was undisputed. The Salon exhibited paintings floor-to-ceiling and on every inch of space. The jostling of artwork became the subject of other paintings. Printed catalogues of the Salons are primary documents for art historians, critical descriptions of the exhibitions published in the gazettes mark the beginning of the modern occupation of art critic. The French revolution opened the exhibition to foreign artists, the vernissage of opening night was a grand social occasion, and a crush that gave subject matter to newspaper caricaturists like Honoré Daumier. Charles Baudelaire, Denis Diderot and others wrote reviews of the Salons, the 1848 revolution liberalized the Salon. The amount of refused works was greatly reduced, the increasingly conservative and academic juries were not receptive to the Impressionist painters, whose works were usually rejected, or poorly placed if accepted. The Salon opposed the Impressionists shift away from traditional painting styles, in 1863 the Salon jury turned away an unusually high number of the submitted paintings. An uproar resulted, particularly from regular exhibitors who had been rejected, in order to prove that the Salons were democratic, Napoleon III instituted the Salon des Refusés, containing a selection of the works that the Salon had rejected that year. It opened on 17 May 1863, marking the birth of the avant-garde, the Impressionists held their own independent exhibitions in 1874,1876,1877,1879,1880,1881,1882 and 1886. In 1881, the government withdrew official sponsorship from the annual Salon, in December 1890, the leader of the Société des Artistes Français, William-Adolphe Bouguereau, propagated the idea that Salon should be an exhibition of young, not-yet awarded, artists
Paris Salon
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Formally dressed patrons at the Salon in 1890
Paris Salon
–
This portrait by
John Singer Sargent of
Virginie Amélie Avegno Gautreau depicting her
cleavage caused considerable controversy when it was displayed at the 1884 Salon.
Paris Salon
–
Salon of 1932, Grand Palais, Paris.
Paris Salon
–
Salon of 1753
13.
Jean-Baptiste Isabey
–
Jean-Baptiste Isabey was a French painter born at Nancy. At the age of nineteen, after lessons from Dumont, miniature painter to Marie Antoinette. Although Isabey did homage to Napoleon on his return from Elba, he continued to enjoy the favour of the Restoration, and took part in arrangements for the coronation of Charles X. The July Monarchy conferred on him an important post in connection with the collections, and Napoleon III granted him a pension. A biography of Isabey was published by Edmond Taigny in 1859, univ. is founded on facts furnished by Isabeys family. His son, Eugène, also became a known painter. This article incorporates text from a now in the public domain, Chisholm, Hugh. Media related to Jean-Baptiste Isabey at Wikimedia Commons
Jean-Baptiste Isabey
–
Isabey with his daughter, 1795, by
François Gérard
Jean-Baptiste Isabey
–
Miniature of
Christine Boyer by Isabey
14.
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.
15.
Letizia Ramolino
–
Nobile Maria Letizia Buonaparte née Ramolino was an Italian noble, mother of Napoleon I of France. The distant cousins of the Ramolinos were a low rank of nobility in the Republic of Genoa, like most such girls in the 18th century, Letizia was educated at home. On 2/7 June 1764, when she was thirteen, Letizia married the trainee attorney Carlo Buonaparte, himself only seventeen, at Ajaccio. First pregnant a few later, she went on to give birth to thirteen children, eight of whom survived infancy. Joseph Bonaparte King of Naples and Sicily, King of Spain and the Indies, Maria Anna Buonaparte, namesake of her deceased older sister. Maria Anna Buonaparte, namesake of her older sisters. Maria Anna Bonaparte, namesake of her older sisters, Grand Duchess of Tuscany, married on 5 May 1797 to Felice Pasquale Baciocchi. Louis Bonaparte, King of Holland, married on 4 January 1802 to Hortense de Beauharnais, pauline Bonaparte, Sovereign Princess and Duchess of Guastalla, married 5 May 1797 to Victor-Emmanuel Leclerc and married secondly on 28 August 1803 Camillo Borghese, 6th Prince of Sulmona. Caroline Bonaparte, Grand Duchess of Jülich-Cleves-Berg, wife of Joachim Murat and these friendships might have helped to have Napoleon admitted to the Brienne cadet school. She was a mother, and had a very down-to-earth view of most things. When most European mothers bathed children perhaps once a month, she had her children bathed every other day, Letizia spoke Italian and Corsican and never learned French. When she was 35, her husband died of cancer and she was decreed Madam, the Mother of His Imperial Majesty The Emperor, Imperial Highness, on 18 May 1804 or 23 March 1805. Napoleon paid her 25,000 francs a month, in 1814 she shared Napoleons exile in Elba, where he treated her fondly. After 1815 she moved to Rome, in Palazzo DAste-Bonaparte in piazza Venezia and she died of old age in 1836, aged 85, three weeks before the 51st anniversary of her husbands death. By then she was blind and had outlived her most famous son Napoleon by 15 years. During her years in Rome, she saw any other family members than her brother. François Carlo Antommarchi This article incorporates text from a now in the public domain, Wood, James. London and New York, Frederick Warne, Letizia Bonaparte Photograph part of the Nineteenth Century Notables Digital Collection at Gettysburg College
Letizia Ramolino
–
Letizia Ramolino by
Robert Lefèvre, 1813
Letizia Ramolino
–
Deathbed portrait of Maria Letizia Bonaparte.
16.
George Canning
–
The son of an actress and a failed businessman and lawyer, Canning was supported financially by his uncle Stratford, allowing him to attend Eton College and Christ Church, Oxford. Canning entered politics in 1793 and rose rapidly and he was Paymaster of the Forces and Treasurer of the Navy under William Pitt the Younger. Canning was Foreign Secretary under the Duke of Portland, who was ill, Canning was the dominant figure in the cabinet and directed the seizure of the Danish fleet in 1807 to assure Britains naval supremacy over Napoleon. In 1809, he was wounded in a duel with his foe Lord Castlereagh and was thereafter passed over as a successor to the Duke of Portland in favour of Spencer Perceval. He remained out of office until after Perceval was assassinated in 1812. The King disliked Canning and there were efforts to frustrate his foreign policies, Canning, however, successfully built wide public support for his policies. His policies ensured a major trading advantage to British merchants and supported the Americans Monroe Doctrine, Canning was the arch-enemy of the Concert of Europe system set up by the conservative powers at the Congress of Vienna in 1815. Hayes says that in terms of foreign affairs, His most important achievements was the destruction of the system of the neo-Holy Alliance which, if unchallenged and they both declined to serve under Canning and the Tories split between Peel and Wellingtons Ultra-Tories and the Canningites. Canning then invited several Whigs to join his cabinet, however, his health collapsed and he died in office in August 1827, after just 119 days in office, the shortest tenure of any British Prime Minister. Canning was born into an Anglo-Irish family at his parents home in Queen Anne Street, Marylebone, Canning described himself as an Irishman born in London. His father, George Canning, Sr. George Sr. eventually abandoned the family and died in poverty on 11 April 1771, his sons first birthday, Cannings mother, Mary Anne Costello, took work as a stage actress, a profession not considered respectable at the time. Indeed, when in 1827 it looked as if Canning would become Prime Minister, Lord Grey remarked that the son of an actress is, ipso facto, disqualified from becoming Prime Minister. Because Canning showed unusual intelligence and promise at an age, family friends persuaded his uncle, London merchant Stratford Canning. George Canning grew up with his cousins at the home of his uncle, who provided him with an income, Stratford Cannings financial support allowed the young Canning to study at Hyde Abbey School, Eton College and Christ Church, Oxford. Canning came out top of the school at Eton and left at the age of seventeen and his time at Eton has been described as a triumph almost without parallel. He proved a brilliant classicist, came top of the school, Canning struck up friendships with the future Lord Liverpool as well as with Granville Leveson-Gower and John Hookham Frere. In 1789 he won a prize for his Latin poem The Pilgrimage to Mecca which he recited in Oxford Theatre, Canning began practising law after receiving his BA from Oxford in the summer of 1791, but he wished to enter politics. Stratford Canning was a Whig and would introduce his nephew in the 1780s to prominent Whigs such as Charles James Fox, Edmund Burke, George Cannings friendship with Sheridan would last for the remainder of Sheridans life
George Canning
–
The Right Honourable George Canning
FRS
George Canning
–
Statue in
Parliament Square, London. Executed by Sir
Richard Westmacott, and erected in 1832
George Canning
–
George Canning
George Canning
–
Canning by Richard Evans, circa 1825
17.
Talleyrand
–
Charles Maurice de Talleyrand-Périgord, Prince of Benevento, then Prince of Talleyrand, was a laicized French bishop, politician, and diplomat. After theology studies, he became in 1780 Agent-General of the Clergy and he worked at the highest levels of successive French governments, most commonly as foreign minister or in some other diplomatic capacity. His career spanned the regimes of Louis XVI, the years of the French Revolution, Napoleon, Louis XVIII and those he served often distrusted Talleyrand but, like Napoleon, found him extremely useful. The name Talleyrand has become a byword for crafty, cynical diplomacy and he was Napoleons chief diplomat during the years when French military victories brought one European state after another under French hegemony. However, most of the time, Talleyrand worked for peace so as to consolidate Frances gains and he succeeded in obtaining peace with Austria through the 1801 Treaty of Luneville and with Britain in the 1802 Treaty of Amiens. He could not prevent the renewal of war in 1803 but by 1805, he opposed his emperors renewed wars against Austria, Prussia, Talleyrand sought a negotiated secure peace so as to perpetuate the gains of the French revolution. Napoleon rejected peace and when he fell in 1814, Talleyrand took charge of the Bourbon restoration based on the principle of legitimacy and he played a major role at the Congress of Vienna in 1814–1815, where he negotiated a favourable settlement for France while undoing Napoleons conquests. Talleyrand was born into an aristocratic family in Paris. His father, Count Daniel de Talleyrand-Périgord, was 20 years of age when Charles was born and his mother was Alexandrine de Damas dAntigny. Both his parents held positions at court, but as cadets of their families, had no important income. From childhood, Talleyrand walked with a limp, however, recent research has shown that his limp was in fact congenital. Talleyrands father had a career in the Army, reaching the rank of lieutenant general, as did his uncle, Gabriel Marie de Périgord. It would appear that the family, though ancient and illustrious, was not particularly prosperous, Talleyrand attended the Collège dHarcourt, the seminary of Saint-Sulpice, while studying theology at the Sorbonne until the age of 21. He was ordained a priest in 1779, at the age of 25, in 1780, he became Agent-General of the Clergy, a representative of the Catholic Church to the French Crown. In 1789, the influence of Talleyrands father and family overcame the Kings dislike, the undoubtedly able Talleyrand, though free-thinking in the Enlightenment mould, appears at the time to have been outwardly respectful of religious observance. In the course of the Revolution, however, he was to manifest his cynicism, in 1801, Pope Pius VII laicized Talleyrand, an event most uncommon at the time in the history of the Church. Shortly after he was ordained as Bishop of Autun, Talleyrand attended the Estates-General of 1789, representing the clergy, during the French Revolution, Talleyrand strongly supported the anti-clericalism of the revolutionaries. He assisted Mirabeau in the appropriation of Church properties, during the Fête de la Fédération on 14 July 1790, Talleyrand celebrated Mass
Talleyrand
–
Portrait of Talleyrand, by
Pierre-Paul Prud'hon (1809).
Talleyrand
–
The
oath of
La Fayette at the
Fête de la Fédération, 14 July 1790. Talleyrand, then Bishop of
Autun, can be seen at the extreme right. French School, 18th century.
Musée Carnavalet.
Talleyrand
–
Portrait of Talleyrand by
François Gérard, 1808.
Talleyrand
–
Elderly Talleyrand, 1828.
18.
Arthur Wellesley, 1st Duke of Wellington
–
His defeat of Napoleon at the Battle of Waterloo in 1815 put him in the top rank of Britains military heroes. Wellesley was born in Dublin, belonging to the Protestant Ascendancy in Ireland and he was commissioned as an ensign in the British Army in 1787, serving in Ireland as aide-de-camp to two successive Lords Lieutenant of Ireland. He was also elected as a Member of Parliament in the Irish House of Commons and he was a colonel by 1796, and saw action in the Netherlands and in India, where he fought in the Fourth Anglo-Mysore War at the Battle of Seringapatam. He was appointed governor of Seringapatam and Mysore in 1799 and, as a newly appointed major-general, following Napoleons exile in 1814, he served as the ambassador to France and was granted a dukedom. During the Hundred Days in 1815, he commanded the army which defeated Napoleon at Waterloo. Wellesleys battle record is exemplary, he participated in some 60 battles during the course of his military career. Wellington is famous for his defensive style of warfare, resulting in several victories against numerically superior forces while minimising his own losses. He is regarded as one of the greatest defensive commanders of all time, after ending his active military career, Wellington returned to politics. He was twice British prime minister as part of the Tory party, from 1828 to 1830 and he oversaw the passage of the Catholic Relief Act 1829, but opposed the Reform Act 1832. He continued as one of the figures in the House of Lords until his retirement. As such, he belonged to the Protestant Ascendancy and his biographers mostly follow the contemporary newspaper evidence in saying that he was born 1 May 1769, the day that he was baptised. He was most likely born at his parents townhouse,24 Upper Merrion Street, Dublin, but his mother Anne, Countess of Mornington, recalled in 1815 that he had been born at 6 Merrion Street, Dublin. He spent most of his childhood at his familys two homes, the first a house in Dublin and the second Dangan Castle,3 miles north of Summerhill on the Trim Road in County Meath. In 1781, Arthurs father died and his eldest brother Richard inherited his fathers earldom and he went to the diocesan school in Trim when at Dangan, Mr Whytes Academy when in Dublin, and Browns School in Chelsea when in London. He then enrolled at Eton, where he studied from 1781 to 1784, moreover, Eton had no playing fields at the time. In 1785, a lack of success at Eton, combined with a shortage of funds due to his fathers death, forced the young Wellesley. Until his early twenties, Arthur showed little sign of distinction and his mother grew concerned at his idleness, stating. A year later, Arthur enrolled in the French Royal Academy of Equitation in Angers, where he progressed significantly, becoming a good horseman and learning French, upon returning to England in late 1786, he astonished his mother with his improvement
Arthur Wellesley, 1st Duke of Wellington
–
Wellesley spent much of his early childhood at his family house in
Dangan Castle, engraving 1842.
Arthur Wellesley, 1st Duke of Wellington
–
The Duke of Wellington, by
Sir Thomas Lawrence. Painted in 1814, a few months before the
Battle of Waterloo.
Arthur Wellesley, 1st Duke of Wellington
–
Beginning in 1787, Wellesley served at
Dublin Castle (pictured) as
aide-de-camp to two successive
Lords Lieutenant of Ireland.
Arthur Wellesley, 1st Duke of Wellington
–
Lieutenant Colonel Arthur Wellesley, aged 26, in the
33rd Regiment.
19.
History painting
–
History painting is a genre in painting defined by its subject matter rather than artistic style. History paintings usually depict a moment in a story, rather than a specific and static subject. The term is derived from the senses of the word historia in Latin and Italian, meaning story or narrative. Most history paintings are not of scenes from history, especially paintings from before about 1850, History paintings almost always contain a number of figures, often a large number, and normally show some type of action that is a moment in a narrative. The genre includes depictions of moments in religious narratives, above all the Life of Christ, as well as scenes from mythology. These groups were for long the most frequently painted, works such as Michelangelos Sistine Chapel ceiling are therefore history paintings, History painting may be used interchangeably with historical painting, and was especially so used before the 20th century. Where a distinction is made historical painting is the painting of scenes from secular history, in the 19th century historical painting in this sense became a distinct genre. In phrases such as historical painting materials, historical means in use before about 1900 and he placed emphasis on the ability to depict the interactions between the figures by gesture and expression. This view remained general until the 19th century, when artistic movements began to struggle against the establishment institutions of academic art, which continued to adhere to it. Scenes from ancient history had been popular in the early Renaissance, and once again became common in the Baroque and Rococo periods, and still more so with the rise of Neoclassicism. In some 19th or 20th century contexts, the term may refer specifically to paintings of scenes from history, rather than those from religious narratives. Scenes from ancient history and mythology were also popular, artists continued for centuries to strive to make their reputation by producing such works, often neglecting genres to which their talents were better suited. The large works of Raphael were long considered, with those of Michelangelo, un Peintre qui ne fait que des portraits, na pas encore cette haute perfection de lArt, & ne peut prétendre à lhonneur que reçoivent les plus sçavans. He who produces perfect landscapes is above another who only produces fruit, a painter who only does portraits still does not have the highest perfection of his art, and cannot expect the honour due to the most skilled. By the late 18th century, with religious and mytholological painting in decline, there was an increased demand for paintings of scenes from history. Classical history remained popular, but scenes from national histories were often the best-received, the unheroic nature of modern dress was regarded as a serious difficulty. When, in 1770, Benjamin West proposed to paint The Death of General Wolfe in contemporary dress and he ignored these comments and showed the scene in modern dress. Although George III refused to purchase the work, West succeeded both in overcoming his critics objections and inaugurating a more historically accurate style in such paintings. M. W, conveniently their clothes had been worn away to classical-seeming rags by the point the painting depicts
History painting
–
Diana and Actaeon,
Titian, 1556–1559, a classic history painting, showing a dramatic moment in (mythological story, with elements of figure painting,
landscape painting and
still-life.
History painting
–
Judas Returning the Thirty Silver Pieces by
Rembrandt, 1629
History painting
–
Jacques-Louis David 's
Oath of the Horatii, 1786, with a scene from ancient history.
History painting
–
The Meeting of Leo the Great and Attila by
Raphael and his workshop
20.
Romanticism
–
Romanticism was characterized by its emphasis on emotion and individualism as well as glorification of all the past and nature, preferring the medieval rather than the classical. It was embodied most strongly in the arts, music, and literature, but had a major impact on historiography, education. It elevated folk art and ancient custom to something noble, Romanticism assigned a high value to the achievements of heroic individualists and artists, whose examples, it maintained, would raise the quality of society. It also promoted the individual imagination as a critical authority allowed of freedom from classical notions of form in art, there was a strong recourse to historical and natural inevitability, a Zeitgeist, in the representation of its ideas. In the second half of the 19th century, Realism was offered as a polar opposite to Romanticism, the decline of Romanticism during this time was associated with multiple processes, including social and political changes and the spread of nationalism. Defining the nature of Romanticism may be approached from the point of the primary importance of the free expression of the feelings of the artist. The importance the Romantics placed on emotion is summed up in the remark of the German painter Caspar David Friedrich that the feeling is his law. Samuel Taylor Coleridge and others believed there were laws that the imagination—at least of a good creative artist—would unconsciously follow through artistic inspiration if left alone. As well as rules, the influence of models from other works was considered to impede the creators own imagination, so that originality was essential. The concept of the genius, or artist who was able to produce his own work through this process of creation from nothingness, is key to Romanticism. This idea is called romantic originality. Not essential to Romanticism, but so widespread as to be normative, was a strong belief, however, this is particularly in the effect of nature upon the artist when he is surrounded by it, preferably alone. Romantic art addressed its audiences with what was intended to be felt as the voice of the artist. So, in literature, much of romantic poetry invited the reader to identify the protagonists with the poets themselves. In both French and German the closeness of the adjective to roman, meaning the new literary form of the novel, had some effect on the sense of the word in those languages. It is only from the 1820s that Romanticism certainly knew itself by its name, the period typically called Romantic varies greatly between different countries and different artistic media or areas of thought. Margaret Drabble described it in literature as taking place roughly between 1770 and 1848, and few dates much earlier than 1770 will be found. In English literature, M. H. Abrams placed it between 1789, or 1798, this latter a very typical view, and about 1830, however, in most fields the Romantic Period is said to be over by about 1850, or earlier
Romanticism
–
Caspar David Friedrich,
Wanderer Above the Sea of Fog, 1818
Romanticism
–
Eugène Delacroix,
Death of Sardanapalus, 1827, taking its
Orientalist subject from a play by
Lord Byron
Romanticism
–
Philipp Otto Runge, The Morning, 1808
Romanticism
–
William Blake,
The Little Girl Found, from
Songs of Innocence and Experience, 1794
21.
July Revolution
–
Supporters of the Bourbon would be called Legitimists, and supporters of Louis Philippe Orléanists. On 16 September 1824, Charles X ascended to the throne of France and he was the younger brother of Louis XVIII, who, upon the defeat of Napoleon I, and by agreement of the Allied powers, had been installed as King of France. Both Louis and Charles ruled by right rather than Revolution. Upon the abdication of Napoleon in 1814, continental Europe, the Congress of Vienna met to redraw the continents political map. Another very influential person at the Congress was Charles Maurice de Talleyrand, although France was considered an enemy state, Talleyrand was allowed to attend the Congress because he claimed that he had only cooperated with Napoleon under duress. Talleyrand proposed that Europe be restored to its borders and governments. France returned to its 1789 borders and the House of Bourbon, the Congress however forced Louis to grant the Charte constitutionnelle française, the French Constitution otherwise known as La Charte. This document was the trigger of the July Revolution. On 16 September 1824, after an illness of several months. Therefore, his brother, Charles, aged 66, inherited the throne of France. On 27 September Charles X as he was now known, made his entry into Paris to popular acclaim. But eight months later, the mood of the capital had sharply worsened in its opinion of the new king, the causes of this dramatic shift in public opinion were many, but the main two were, The imposition of the death penalty for anyone profaning the Eucharist. The provisions for financial indemnities for properties confiscated by the 1789 Revolution and these indemnities to be paid to any one, whether noble or non-noble, who had been declared enemies of the Revolution. Critics of the first accused the king and his new ministry of pandering to the Catholic Church, the second matter, that of financial indemnities, was far more opportunistic than the first. But opponents, many of whom were frustrated Bonapartists, began a campaign that Charles X was only proposing this in order to shame those who had not emigrated. Both measures, they claimed, were nothing more than clever subterfuge meant to bring about the destruction of La Charte and this, too, was about to change. On 12 April, propelled by both genuine conviction and the spirit of independence, the Chamber of Deputies roundly rejected the proposal to change the inheritance laws. The popular newspaper Le Constitutionnel pronounced this refusal a victory over the forces of counter-revolutionaries, the popularity of both the Chamber of Peers and the Chamber of Deputies skyrocketed, and the popularity of the king and his ministry dropped
July Revolution
–
Charles X in coronation robes
July Revolution
–
Scenes of July 1830, a painting by
Léon Cogniet alluding to the July revolution of 1830.
July Revolution
–
Taking of the
Hôtel de Ville (revolutionaries went there in 1789, and later 1848 and 1870), by Amédée Bourgeois
July Revolution
–
Battle outside the Hôtel de Ville, by Jean Victor Schnetz
22.
Heinrich Christoph Kolbe
–
Heinrich Christoph Kolbe was a German painter. He is associated with the Düsseldorf school of painting, Kolbe was born and died in Düsseldorf. After his education at the old Kunstakademie Düsseldorf and then went to Paris for ten years to study and he was part of the circle of Friedrich Schlegel and worked on the review Europa. He later worked in the studio of François Gérard, in 1811 he returned to Düsseldorf, becoming the favourite portraitist of the Rhineland, painting 60 portraits in Barmen and Elberfeld alone. His subjects in Weimar included Goethe, Charles Augustus, Grand Duke of Saxe-Weimar-Eisenach, from 1822 he was a professor at the Düsseldorf Art Academy, but he left in 1832 after a long dispute with the new director Friedrich Wilhelm Schadow. He died in Düsseldorf in 1836 after a long illness
Heinrich Christoph Kolbe
–
Portrait of a woman
Heinrich Christoph Kolbe
–
Portrait of Alwine and Robert Uellenberg
Heinrich Christoph Kolbe
–
Goethe
23.
Catherine Grand
–
Catherine Noele Grand was the mistress and later the wife of French diplomat Charles Maurice de Talleyrand-Périgord, the first Prime Minister of France. From their marriage in 1802 until her death she was Catherine Noele Grand de Talleyrand-Périgord, Madame Grand was known for her striking Nordic beauty, as well as her ingenuous public comments. Catherine Noele Worlée was born in the Danish possession of Tranquebar, Tamil Nadu, India, in 1777, her family moved to Chandannagar, where she met George Francis Grand, a British civil servant of Huguenot descent stationed at Calcutta. They were wed in Calcutta in 1778, when Catherine was barely sixteen, the couple separated soon after, because of her brief but scandalous affair with Sir Philip Francis, deputy of Warren Hastings, and Madame Grand removed to London. By 1783, when Vigee Le Brun painted her portrait there, Catherine Grand had become a courtesan in Paris, after marriage the two gradually drifted apart. Madame Talleyrand began living alone, her husband eventually giving her money to live luxuriously in London. In the last few years of her life, the Princesse de Bénévent returned to Paris and she died there on December 10,1834, and her body was buried in Montparnasse Cemetery
Catherine Grand
–
1783 portrait of Madame Grand by
Élisabeth-Louise Vigée-Le Brun, now at the
Metropolitan Museum of Art
24.
Benevento
–
Benevento listen is a city and comune of Campania, Italy, capital of the province of Benevento,50 kilometres northeast of Naples. It is situated on a hill 130 metres above sea level at the confluence of the Calore Irpino and it is also the seat of a Roman Catholic archbishop. Benevento occupies the site of the ancient Beneventum, originally Maleventum or still earlier Maloenton, the -vent portion of the name probably refers to a market-place and is a common element in ancient place names. The Romans theorized that it meant the site of bad events, in the imperial period it was supposed to have been founded by Diomedes after the Trojan War. A patron saint of Benevento is Saint Bartholomew, the Apostle, Benevento, as Maleventum, was one of the chief cities of Samnium, situated on the Via Appia at a distance of 51 kilometres east from Capua on the banks of the river Calor. Festus, on the contrary, related that it was founded by Auson, a son of Ulysses and Circe, a tradition which indicates that it was an ancient Ausonian city, previous to its conquest by the Samnites. But it first appears in history as a Samnite city, and must have already been a place of strength and it appears, however, to have fallen into their hands during the Third Samnite War, though the exact occasion is unknown. Benevento was certainly in the power of the Romans in 274 BC, six years later they further sought to secure its possession by establishing there a Roman colony with Latin rights. It is probable that the Oscan or Samnite name was Maloeis, or Malieis, whence the form Maleventum would derive, like Agrigentum from Acragas, Selinuntium from Selinus and its wealth is also evidenced by the quantity of coins minted by Beneventum. Horace famously notes Beneventum on his journey from Rome to Brundusium and it was indebted to the same circumstance for the honor of repeated visits from the emperors of Rome, among which those of Nero, Trajan, and Septimus Severus, are particularly recorded. It was probably for the reason that the triumphal arch. The Arch of Trajan is one of the best-preserved Roman structures in the Campania and it repeats the formula of the Arch of Titus in the Roman Forum, with reliefs of Trajans life and exploits of his reign. Some of the sculptures are in the British Museum, successive emperors seem to have bestowed on the city accessions of territory, and erected, or at least given name to, various public buildings. Its inhabitants were included in the Stellatine tribe, diaconus speaks of it as a very wealthy city, and the capital of all the surrounding provinces. The territory of Beneventum under the Roman Empire was of considerable extent. An inscription has preserved to us the names of several of the pagi or villages dependent upon Beneventum, the citys most ancient coins bear the legend Malies or Maliesa, which have been supposed to belong to the Samnite, or pre-Samnite, Maleventum. Coins with the legend BENVENTOD, must have struck after it became a Latin colony. Not long after it had been sacked by Totila and its walls razed, the circumstances of the creation of duchy of Benevento are disputed
Benevento
–
Main landmarks in Benevento. Clockwise from the upper left: the Arch of Trajan, the church of Santa Sofia, the Cathedral's main portal, the castle and the Roman theatre
Benevento
–
Panoramic view of Benevento from the mount Pentime, part of the
Taburnus mountain range
Benevento
–
View of the Roman Theatre of Benevento.
Benevento
–
The Arch of Trajan, provided with a
portcullis, as it appeared in the 18th century, etching by
Piranesi. Some of the bas-reliefs are now in the
British Museum.
25.
Hortense de Beauharnais
–
Hortense Eugénie Cécile Bonaparte, Queen consort of Holland, was the stepdaughter of Emperor Napoleon I, being the daughter of his first wife, Joséphine de Beauharnais. She later became the wife of the brother, Louis Bonaparte, King of Holland. She had also a son, Charles de Morny, 1st Duke of Morny, by her lover Charles Joseph. Hortense was born in Paris, France on 10 April 1783 and her parents separated shortly after her birth. Her father was executed on 23 July 1794, at the time of the French Revolution and her mother was imprisoned in the Carmelites prison, from which she was released on 6 August 1794, thanks to the intervention of her best friend Thérèse Tallien. Two years later, her mother married Napoleon Bonaparte, Hortense was described as having been an amusing and pretty child with long, pale golden-blonde hair and blue eyes. She received her education at the school of Madame Jeanne Campan in St-Germain-en-Laye together with Napoleons youngest sister Caroline Bonaparte and she had an elder brother, Eugène de Beauharnais. Hortense was an amateur musical composer and supplied the army of her stepfather with rousing marches. She also enjoyed playing games and particularly excelled at billiards, in 1802, at Napoleons request, Hortense married his brother Louis Bonaparte. She had hoped to be a Queen of Holland in Paris and she was therefore forced to depart with Louis to the Netherlands, where she arrived on 18 June 1806. Queen Hortense was pleasantly surprised by the warm welcome from the public and she quickly became accustomed to life in the Netherlands and came to like the country. She was present at celebrations and ceremonies, visited the market places where she made large purchases, and was much liked by the public. She learned water colour painting and made trips around the countryside, in 1807, her son died, she was subsequently allowed to visit France as the climate there was considered better for her other son Louis-Napoléon. Hortense returned temporarily to the Netherlands, but on 1 June 1810, in 1810, after his Dutch kingdom was taken away from him, Louis remained in Holland for nearly three years, turning to writing and poetry. Louis wrote to Napoleon after the defeat in Russia to request that the Dutch throne be restored to him. Louis finally returned to France in 1813 and he spent much of his later life in Italy. Only her brother Eugène, Adélaïde Filleul de Souza, de Flahauts mother, and her closest companions were aware of her pregnancy and she had used poor health to explain her prolonged visit to Switzerland, the journey having been arranged by Adélaïde. At the Bourbon Restoration in 1814, Hortense received the protection of Alexander I of Russia, at his instigation, she was granted the title of Duchess of Saint-Leu by King Louis XVIII on 30 May 1814
Hortense de Beauharnais
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Hortense de Beauharnais, Queen of Holland
Hortense de Beauharnais
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Arenenberg
26.
Napoleon
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Napoleon Bonaparte was a French military and political leader who rose to prominence during the French Revolution and led several successful campaigns during the French Revolutionary Wars. As Napoleon I, he was Emperor of the French from 1804 until 1814, Napoleon dominated European and global affairs for more than a decade while leading France against a series of coalitions in the Napoleonic Wars. He won most of these wars and the vast majority of his battles, one of the greatest commanders in history, his wars and campaigns are studied at military schools worldwide. Napoleons political and cultural legacy has ensured his status as one of the most celebrated and he was born Napoleone di Buonaparte in Corsica to a relatively modest family from the minor nobility. When the Revolution broke out in 1789, Napoleon was serving as an officer in the French army. Seizing the new opportunities presented by the Revolution, he rose through the ranks of the military. The Directory eventually gave him command of the Army of Italy after he suppressed a revolt against the government from royalist insurgents, in 1798, he led a military expedition to Egypt that served as a springboard to political power. He engineered a coup in November 1799 and became First Consul of the Republic and his ambition and public approval inspired him to go further, and in 1804 he became the first Emperor of the French. Intractable differences with the British meant that the French were facing a Third Coalition by 1805, in 1806, the Fourth Coalition took up arms against him because Prussia became worried about growing French influence on the continent. Napoleon quickly defeated Prussia at the battles of Jena and Auerstedt, then marched the Grand Army deep into Eastern Europe, France then forced the defeated nations of the Fourth Coalition to sign the Treaties of Tilsit in July 1807, bringing an uneasy peace to the continent. Tilsit signified the high watermark of the French Empire, hoping to extend the Continental System and choke off British trade with the European mainland, Napoleon invaded Iberia and declared his brother Joseph the King of Spain in 1808. The Spanish and the Portuguese revolted with British support, the Peninsular War lasted six years, featured extensive guerrilla warfare, and ended in victory for the Allies. The Continental System caused recurring diplomatic conflicts between France and its client states, especially Russia, unwilling to bear the economic consequences of reduced trade, the Russians routinely violated the Continental System and enticed Napoleon into another war. The French launched an invasion of Russia in the summer of 1812. The resulting campaign witnessed the collapse of the Grand Army, the destruction of Russian cities, in 1813, Prussia and Austria joined Russian forces in a Sixth Coalition against France. A lengthy military campaign culminated in a large Allied army defeating Napoleon at the Battle of Leipzig in October 1813, the Allies then invaded France and captured Paris in the spring of 1814, forcing Napoleon to abdicate in April. He was exiled to the island of Elba near Rome and the Bourbons were restored to power, however, Napoleon escaped from Elba in February 1815 and took control of France once again. The Allies responded by forming a Seventh Coalition, which defeated Napoleon at the Battle of Waterloo in June, the British exiled him to the remote island of Saint Helena in the South Atlantic, where he died six years later at the age of 51
Napoleon
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The Emperor Napoleon in His Study at the Tuileries, by
Jacques-Louis David, 1812
Napoleon
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Imperial coat of arms
Napoleon
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Napoleon's father
Carlo Buonaparte was
Corsica 's representative to the court of
Louis XVI of France.
Napoleon
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Napoleon Bonaparte, aged 23, Lieutenant-Colonel of a battalion of Corsican
Republican volunteers
27.
Battle of Austerlitz
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The Battle of Austerlitz, also known as the Battle of the Three Emperors, was one of the most important and decisive engagements of the Napoleonic Wars. The battle occurred near the town of Austerlitz in the Austrian Empire, Austerlitz brought the War of the Third Coalition to a rapid end, with the Treaty of Pressburg signed by the Austrians later in the month. The battle is cited as a tactical masterpiece, in the same league as other historic engagements like Cannae or Arbela. After eliminating an Austrian army during the Ulm Campaign, French forces managed to capture Vienna in November 1805, the Austrians avoided further conflict until the arrival of the Russians bolstered Allied numbers. Napoleon sent his army north in pursuit of the Allies, and he deployed the French army below the Pratzen Heights and deliberately weakened his right flank, enticing the Allies to launch a major assault there in the hopes of rolling up the whole French line. A forced march from Vienna by Marshal Davout and his III Corps plugged the gap left by Napoleon just in time. Meanwhile, the heavy Allied deployment against the French right weakened the allied center on the Pratzen Heights, with the Allied center demolished, the French swept through both enemy flanks and sent the Allies fleeing chaotically, capturing thousands of prisoners in the process. The Allied disaster significantly shook the faith of Emperor Francis in the British-led war effort, France and Austria agreed to an armistice immediately and the Treaty of Pressburg followed shortly after, on 26 December. Pressburg took Austria out of both the war and the Coalition while reinforcing the earlier treaties of Campo Formio and of Lunéville between the two powers, the treaty confirmed the Austrian loss of lands in Italy and Bavaria to France, and in Germany to Napoleons German allies. It also imposed an indemnity of 40 million francs on the defeated Habsburgs and allowed the fleeing Russian troops free passage through hostile territories and back to their home soil. Critically, victory at Austerlitz permitted the creation of the Confederation of the Rhine and these achievements, however, did not establish a lasting peace on the continent. Prussian worries about growing French influence in Central Europe sparked the War of the Fourth Coalition in 1806, Europe had been in turmoil since the start of the French Revolutionary Wars in 1792. In 1797, after five years of war, the French Republic subdued the First Coalition, an alliance of Austria, Prussia, Great Britain, Spain, in March 1802, France and Britain agreed to end hostilities under the Treaty of Amiens. For the first time in ten years, all of Europe was at peace, but many problems persisted between the two sides, making implementation of the treaty increasingly difficult. The British government resented having to return the Cape Colony and most of the Dutch West Indian islands to the Batavian Republic, Napoleon was angry that British troops had not evacuated the island of Malta. The tense situation only worsened when Napoleon sent a force to crush the Haitian Revolution. In May 1803, Britain declared war on France, in December 1804, an Anglo-Swedish agreement led to the creation of the Third Coalition. Having been defeated twice in recent memory by France, and being keen on revenge, before the formation of the Third Coalition, Napoleon had assembled an invasion force, called the Armée dAngleterre around six camps at Boulogne in Northern France
Battle of Austerlitz
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Napoléon at the Battle of Austerlitz, by
François Gérard (
Galerie des Batailles,
Versailles).
Battle of Austerlitz
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Napoleon takes the surrender of
General Mack and the Austrian army
at Ulm. Painting by
Charles Thévenin.
Battle of Austerlitz
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French
cuirassiers taking position
Battle of Austerlitz
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Capture of a French regiment's eagle by the cavalry of the Russian guard, by
Bogdan Willewalde (1884)
28.
Theresa of Avila
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In 1622, forty years after her death, she was canonized by Pope Gregory XV, and on 27 September 1970 was named a Doctor of the Church by Pope Paul VI. She also wrote Camino de Perfección, after her death, Saint Teresa was considered a candidate to become a national patron saint in Spain. Pious Catholic beliefs also associate Saint Teresa with the Infant Jesus of Prague with claims of former ownership, Teresa of Avila was born in 1515 in Gotarrendura, in the province of Ávila, Spain. Her paternal grandfather, Juan Sánchez de Toledo, was a marrano and was condemned by the Spanish Inquisition for allegedly returning to the Jewish faith and her father, Alonso Sánchez de Cepeda, bought a knighthood and successfully assimilated into Christian society. Teresas mother, Beatriz de Ahumada y Cuevas, was keen to raise her daughter as a pious Christian. Teresa was fascinated by accounts of the lives of the saints and her uncle stopped them as he was returning to the town, having spotted the two outside the town walls. When Teresa was 14 her mother died, this resulted in Teresa becoming grief-stricken and this prompted her to embrace a deeper devotion to the Virgin Mary as her spiritual mother. Along with this resolution, however, she also developed immoderate interests in reading popular fiction. Teresa was sent for her education to the Augustinian nuns at Ávila, in the monastery, she suffered greatly from illness. Early in her sickness, she experienced periods of religious ecstasy through the use of the devotional book Tercer abecedario espiritual and this work, following the example of similar writings of medieval mystics, consisted of directions for examinations of conscience and for spiritual self-concentration and inner contemplation. She claimed that during her illness she rose from the lowest stage, recollection, to the devotions of silence or even to the devotions of ecstasy, during this final stage, she said she frequently experienced a rich blessing of tears. As the Catholic distinction between mortal and venial sin became clear to her, she says she came to understand the awful terror of sin and she also became conscious of her own natural impotence in confronting sin, and the necessity of absolute subjection to God. Around 1556, various friends suggested that her knowledge was diabolical. She began to inflict various tortures and mortifications of the flesh upon herself, but her confessor, the Jesuit Saint Francis Borgia, reassured her of the divine inspiration of her thoughts. On St. Peters Day in 1559, Teresa became firmly convinced that Jesus Christ presented himself to her in bodily form and these visions lasted almost uninterrupted for more than two years. In another vision, a seraph drove the point of a golden lance repeatedly through her heart. I saw in his hand a spear of gold. The pain was so great, that it made me moan, and yet so surpassing was the sweetness of this excessive pain and this vision was the inspiration for one of Berninis most famous works, the Ecstasy of Saint Teresa at Santa Maria della Vittoria in Rome
Theresa of Avila
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Saint Teresa of Ávila by
Peter Paul Rubens
Theresa of Avila
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The
Ecstasy of Saint Teresa by
Bernini, Basilica of
Santa Maria della Vittoria, Rome.
Theresa of Avila
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Church window at the Convent of St Teresa.
29.
The Detroit Institute of Arts
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The Detroit Institute of Arts, located in Midtown Detroit, Michigan, has one of the largest and most significant art collections in the United States. With over 100 galleries, it covers 658,000 square feet with a renovation and expansion project completed in 2007 that added 58,000 square feet. The DIA collection is regarded as among the top six museums in the United States with a collection which spans the globe from ancient Egyptian and European works to contemporary art. Its art collection is valued in billions of dollars, up to $8.1 billion according to a 2014 appraisal. The DIA campus is located in Midtown Detroits Cultural Center Historic District, the museum building is highly regarded by architects. The original building, designed by Paul Philippe Cret, is flanked by north and south wings with the marble as the main exterior material for the entire structure. The campus is part of the citys Cultural Center Historic District listed in the National Register of Historic Places, the museums first painting was donated in 1883 and its collection consists of over 65,000 works. With about 677,500 visitors annually for 2015, the DIA is among the most visited art museums in the world, the museum contains 100 galleries of art from around the world. Diego Riveras Detroit Industry cycle of frescoes span the upper and lower levels to surround the central grand marble court of the museum, the armor collection of William Randolph Hearst lines the main hall entry way to the grand court. The collection of American art at the DIA is one of the most impressive, works by American artists began to be collected immediately following the museums founding in 1883. Williams, Anne Wilson, Andrew Wyeth, and James McNeill Whistler, the museum includes works by Vincent van Gogh including a self-portrait. The self-portrait of Vincent van Gogh and The Window by Henri Matisse were purchased in 1922 and were the first paintings by two artists to enter an American public collection. Non-German artists in the Expressionist movement include Oskar Kokoschka, Wassily Kandinsky, Chaim Soutine, the Nut Gatherers by William-Adolphe Bouguereau is, by some accounts, the most popular painting in the collection. In December 2010, the museum debuted a new permanent gallery with collections of hand, shadow. The museum plans to feature puppet related events and rotation of exhibits drawn from its puppet collections, artists’ Take on Detroit, Projects for the Tricentennial This exhibit celebrates Detroit’s 300th year anniversary by creating 10 projects that represent the city. The installations created by 15 artists include video and still photography, text and sound, Degas and the Dance This exhibit includes more than 100 pieces of work created by Edgar Degas. These pieces include model stage sets, costume designs, and photographs of the dancers from the 19th-century Parisian ballet. This exhibit includes work from Joshua Johnson, Robert Scott Duncanson, Henry Ossawa Tanner, Augusta Savage, Benny Andrews, Betye Saar, Richard Hunt, Sam Gilliam, and Lorna Simpson
The Detroit Institute of Arts
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Detroit Institute of Arts
The Detroit Institute of Arts
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Original Dawson
Howdy Doody, by Volkan Yuksel
The Detroit Institute of Arts
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William-Adolphe Bouguereau,
The Nut Gatherers, 1882
The Detroit Institute of Arts
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Pablo Picasso, 1916, L'anis del mono (Bottle of Anis del Mono), oil on canvas, 46 x 54.6 cm
30.
Public domain
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The term public domain has two senses of meaning. Anything published is out in the domain in the sense that it is available to the public. Once published, news and information in books is in the public domain, in the sense of intellectual property, works in the public domain are those whose exclusive intellectual property rights have expired, have been forfeited, or are inapplicable. Examples for works not covered by copyright which are therefore in the domain, are the formulae of Newtonian physics, cooking recipes. Examples for works actively dedicated into public domain by their authors are reference implementations of algorithms, NIHs ImageJ. The term is not normally applied to situations where the creator of a work retains residual rights, as rights are country-based and vary, a work may be subject to rights in one country and be in the public domain in another. Some rights depend on registrations on a basis, and the absence of registration in a particular country, if required. Although the term public domain did not come into use until the mid-18th century, the Romans had a large proprietary rights system where they defined many things that cannot be privately owned as res nullius, res communes, res publicae and res universitatis. The term res nullius was defined as not yet appropriated. The term res communes was defined as things that could be enjoyed by mankind, such as air, sunlight. The term res publicae referred to things that were shared by all citizens, when the first early copyright law was first established in Britain with the Statute of Anne in 1710, public domain did not appear. However, similar concepts were developed by British and French jurists in the eighteenth century, instead of public domain they used terms such as publici juris or propriété publique to describe works that were not covered by copyright law. The phrase fall in the domain can be traced to mid-nineteenth century France to describe the end of copyright term. In this historical context Paul Torremans describes copyright as a coral reef of private right jutting up from the ocean of the public domain. Because copyright law is different from country to country, Pamela Samuelson has described the public domain as being different sizes at different times in different countries. According to James Boyle this definition underlines common usage of the public domain and equates the public domain to public property. However, the usage of the public domain can be more granular. Such a definition regards work in copyright as private property subject to fair use rights, the materials that compose our cultural heritage must be free for all living to use no less than matter necessary for biological survival
Public domain
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Newton's own copy of his
Principia, with hand-written corrections for the second edition
Public domain
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L.H.O.O.Q. (1919). Derivative work by the
Dadaist Marcel Duchamp based on the
Mona Lisa.
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This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Gérard, François". Encyclopædia Britannica. 11 (11th ed.). Cambridge University Press. p. 764.
