1.
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)
2.
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
3.
Cubism
–
Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. Cubism has been considered the most influential art movement of the 20th century, the term is broadly used in association with a wide variety of art produced in Paris during the 1910s and extending through the 1920s. The movement was pioneered by Georges Braque and Pablo Picasso, joined by Andre Lhote, Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris. A primary influence that led to Cubism was the representation of form in the late works of Paul Cézanne. The impact of Cubism was far-reaching and wide-ranging, Cubism spread rapidly across the globe and in doing so evolved to a greater or lesser extent. In essence, Cubism was the origin of a process that produced diversity. In France, offshoots of Cubism developed, including Orphism, Abstract art, in other countries Futurism, Suprematism, Dada, Constructivism, De Stijl and Art Deco developed in response to Cubism. Other common threads between these movements include the faceting or simplification of geometric forms, and the association of mechanization. Cubism began between 1907 and 1911, Pablo Picassos 1907 painting Les Demoiselles dAvignon has often been considered a proto-Cubist work. Georges Braques 1908 Houses at L’Estaque prompted the critic Louis Vauxcelles to refer to bizarreries cubiques, Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings. A second phase, Synthetic Cubism, remained vital until around 1919, english art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. Douglas Coopers restrictive use of terms to distinguish the work of Braque, Picasso, Gris. Alternative interpretations of Cubism have therefore developed, wider views of Cubism include artists who were later associated with the Salle 41 artists, e. g. John Berger identifies the essence of Cubism with the mechanical diagram. The metaphorical model of Cubism is the diagram, The diagram being a symbolic representation of invisible processes, forces, structures. A diagram need not eschew certain aspects of appearance but these too will be treated as not as imitations or recreations. During the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian, artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein, at a time when artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks. Picassos paintings of 1907 have been characterized as Protocubism, as seen in Les Demoiselles dAvignon
Cubism
–
Pablo Picasso, 1910, Girl with a Mandolin (Fanny Tellier), oil on canvas, 100.3 x 73.6 cm,
Museum of Modern Art, New York
Cubism
–
Pablo Picasso,
Les Demoiselles d'Avignon, 1907, considered to be a major step towards the founding of the Cubist movement
Cubism
–
Pablo Picasso, 1909-10, Figure dans un Fauteuil (Seated Nude, Femme nue assise), oil on canvas, 92.1 x 73 cm,
Tate Modern, London
Cubism
–
Paul Cézanne, Quarry Bibémus, 1898-1900,
Museum Folkwang,
Essen,
Germany
4.
Dada
–
Dada or Dadaism was an art movement of the European avant-garde in the early 20th century, with early centers in Zürich, Switzerland at the Cabaret Voltaire, in New York, and after 1920, in Paris. The art of the movement spanned visual, literary, and sound media, including collage, sound poetry, cut-up writing, Dadaist artists expressed their discontent with violence, war, and nationalism, and maintained political affinities with the radical left. Others note that it suggests the first words of a child, evoking a childishness, still others speculate that the word might have been chosen to evoke a similar meaning in any language, reflecting the movements internationalism. The roots of Dada lay in pre-war avant-garde, the term anti-art, a precursor to Dada, was coined by Marcel Duchamp around 1913 to characterize works which challenge accepted definitions of art. Cubism and the development of collage and abstract art would inform the movements detachment from the constraints of reality, the work of French poets, Italian Futurists and the German Expressionists would influence Dadas rejection of the tight correlation between words and meaning. Works such as Ubu Roi by Alfred Jarry, and the ballet Parade by Erik Satie would also be characterized as proto-Dadaist works, the Dada movements principles were first collected in Hugo Balls Dada Manifesto in 1916. The movement influenced later styles like the avant-garde and downtown music movements, Dada was an informal international movement, with participants in Europe and North America. The beginnings of Dada correspond to the outbreak of World War I, avant-garde circles outside France knew of pre-war Parisian developments. Futurism developed in response to the work of various artists, many Dadaists believed that the reason and logic of bourgeois capitalist society had led people into war. They expressed their rejection of that ideology in artistic expression that appeared to reject logic and embrace chaos, for example, George Grosz later recalled that his Dadaist art was intended as a protest against this world of mutual destruction. According to Hans Richter Dada was not art, it was anti-art, Dada represented the opposite of everything which art stood for. Where art was concerned with aesthetics, Dada ignored aesthetics. If art was to appeal to sensibilities, Dada was intended to offend, as Hugo Ball expressed it, For us, art is not an end in itself. But it is an opportunity for the perception and criticism of the times we live in. A reviewer from the American Art News stated at the time that Dada philosophy is the sickest, most paralyzing and most destructive thing that has ever originated from the brain of man. Art historians have described Dada as being, in large part, a systematic work of destruction and demoralization. In the end it became nothing but an act of sacrilege, to quote Dona Budds The Language of Art Knowledge, Dada was born out of negative reaction to the horrors of the First World War. This international movement was begun by a group of artists and poets associated with the Cabaret Voltaire in Zürich, Dada rejected reason and logic, prizing nonsense, irrationality and intuition
Dada
–
Cover of the first edition of the publication Dada by
Tristan Tzara;
Zürich, 1917
Dada
–
Francis Picabia, Dame! Illustration for the cover of the periodical Dadaphone, n. 7, Paris, March 1920
Dada
–
Francis Picabia, (left) Le saint des saints c'est de moi qu'il s'agit dans ce portrait, 1 July 1915; (center) Portrait d'une jeune fille americaine dans l'état de nudité, 5 July 1915: (right) J'ai vu et c'est de toi qu'il s'agit, De Zayas! De Zayas! Je suis venu sur les rivages du Pont-Euxin, New York, 1915.
Dada
–
Hannah Höch, Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany, 1919, collage of pasted papers, 90×144 cm,
Nationalgalerie, Staatliche Museen zu Berlin
5.
Surrealism
–
Surrealism is a cultural movement that began in the early 1920s, and is best known for its visual artworks and writings. The aim was to resolve the previously contradictory conditions of dream, leader André Breton was explicit in his assertion that Surrealism was, above all, a revolutionary movement. Surrealism developed out of the Dada activities during World War I, the word surrealist was coined by Guillaume Apollinaire and first appeared in the preface to his play Les Mamelles de Tirésias, which was written in 1903 and first performed in 1917. The Dadaists protested with anti-art gatherings, performances, writings and art works, after the war, when they returned to Paris, the Dada activities continued. Meeting the young writer Jacques Vaché, Breton felt that Vaché was the son of writer. He admired the young writers anti-social attitude and disdain for established artistic tradition, later Breton wrote, In literature, I was successively taken with Rimbaud, with Jarry, with Apollinaire, with Nouveau, with Lautréamont, but it is Jacques Vaché to whom I owe the most. Back in Paris, Breton joined in Dada activities and started the literary journal Littérature along with Louis Aragon and they began experimenting with automatic writing—spontaneously writing without censoring their thoughts—and published the writings, as well as accounts of dreams, in the magazine. Breton and Soupault delved deeper into automatism and wrote The Magnetic Fields, continuing to write, they came to believe that automatism was a better tactic for societal change than the Dada form of attack on prevailing values. They also looked to the Marxist dialectic and the work of such theorists as Walter Benjamin, freuds work with free association, dream analysis, and the unconscious was of utmost importance to the Surrealists in developing methods to liberate imagination. They embraced idiosyncrasy, while rejecting the idea of an underlying madness, as Salvador Dalí later proclaimed, There is only one difference between a madman and me. Beside the use of analysis, they emphasized that one could combine inside the same frame, elements not normally found together to produce illogical. The more the relationship between the two juxtaposed realities is distant and true, the stronger the image will be−the greater its emotional power, the group aimed to revolutionize human experience, in its personal, cultural, social, and political aspects. They wanted to people from false rationality, and restrictive customs. Breton proclaimed that the aim of Surrealism was long live the social revolution. To this goal, at various times Surrealists aligned with communism and anarchism, in 1924 two Surrealist factions declared their philosophy in two separate Surrealist Manifestos. That same year the Bureau of Surrealist Research was established, leading up to 1924, two rival surrealist groups had formed. Each group claimed to be successors of a revolution launched by Guillaume Apollinaire, the other group, led by Breton, included Louis Aragon, Robert Desnos, Paul Éluard, Jacques Baron, Jacques-André Boiffard, Jean Carrive, René Crevel and Georges Malkine, among others. Goll and Breton clashed openly, at one point literally fighting, at the Comédie des Champs-Élysées, in the end, Breton won the battle through tactical and numerical superiority
Surrealism
–
Max Ernst,
The Elephant Celebes (1921),
Tate, London
Surrealism
–
Cover of the first issue of
La Révolution surréaliste, December 1924.
Surrealism
–
Yvan Goll, Surréalisme, Manifeste du surréalisme, Volume 1, Number 1, October 1, 1924, cover by
Robert Delaunay
Surrealism
–
André Masson. Automatic Drawing. 1924. Ink on paper, 23.5 x 20.6 cm.
Museum of Modern Art, New York.
6.
Avant-garde
–
The avant-garde are people or works that are experimental, radical, or unorthodox, with respect to art, culture, and society. It may be characterized by nontraditional, aesthetic innovation and initial unacceptability, the avant-garde pushes the boundaries of what is accepted as the norm or the status quo, primarily in the cultural realm. The avant-garde is considered by some to be a hallmark of modernism, the avant-garde also promotes radical social reforms. Several writers have attempted, with limited success, to map the parameters of avant-garde activity, the Italian essayist Renato Poggioli provides one of the best-known analyses of vanguardism as a cultural phenomenon in his 1962 book Teoria dellarte davanguardia. Other authors have attempted both to clarify and to extend Poggiolis study, bürgers essay also greatly influenced the work of contemporary American art-historians such as the German Benjamin H. D. Buchloh. Buchloh, in the collection of essays Neo-avantgarde and Culture Industry critically argues for an approach to these positions. Subsequent criticism theorized the limitations of these approaches, noting their circumscribed areas of analysis, including Eurocentric, chauvinist, and genre-specific definitions. The concept of avant-garde refers primarily to artists, writers, composers and thinkers whose work is opposed to cultural values. For Greenberg, these forms were therefore kitsch, phony, faked or mechanical culture, for instance, during the 1930s the advertising industry was quick to take visual mannerisms from surrealism, but this does not mean that 1930s advertising photographs are truly surreal. In this way the autonomous artistic merit so dear to the vanguardist was abandoned and sales became the measure. It has become common to describe successful rock musicians and celebrated film-makers as avant-garde, nevertheless, an incisive critique of vanguardism as against the views of mainstream society was offered by the New York critic Harold Rosenberg in the late 1960s. Since then it has been flanked by what he called avant-garde ghosts to the one side, and this has seen culture become, in his words, a profession one of whose aspects is the pretense of overthrowing it. Avant-garde in music can refer to any form of working within traditional structures while seeking to breach boundaries in some manner. The term is used loosely to describe the work of any musicians who radically depart from tradition altogether, although most avant-garde composers have been men, this is not exclusively the case. Women avant-gardists include Pauline Oliveros, Diamanda Galás, Meredith Monk, there are movements in theatre history that are characterized by their contributions to the avant-garde traditions in both the United States and Europe. Among these are Fluxus, Happenings, and Neo-Dada, Avant-garde – Wikipedia book Barron, Stephanie, and Maurice Tuchman. The Avant-garde in Russia, 1910–1930, New Perspectives, Los Angeles County Museum of Art Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D. C. Los Angeles, CA, Los Angeles County Museum of Art ISBN 0-87587-095-3, Cambridge, MA, ISBN 0-671-20422-X Berg, Hubert van den, and Walter Fähnders
Avant-garde
–
The Love of Zero, a 1927 film by
Robert Florey
Avant-garde
–
Marcel Duchamp,
Fountain, 1917. Photograph by
Alfred Stieglitz
7.
Impressionism
–
Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. The Impressionists faced harsh opposition from the art community in France. The development of Impressionism in the arts was soon followed by analogous styles in other media that became known as impressionist music. Radicals in their time, early Impressionists violated the rules of academic painting and they constructed their pictures from freely brushed colours that took precedence over lines and contours, following the example of painters such as Eugène Delacroix and J. M. W. Turner. They also painted scenes of modern life, and often painted outdoors. Previously, still lifes and portraits as well as landscapes were painted in a studio. The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air, the Impressionists, however, developed new techniques specific to the style. The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if the art critics and art establishment disapproved of the new style. In the middle of the 19th century—a time of change, as Emperor Napoleon III rebuilt Paris, the Académie was the preserver of traditional French painting standards of content and style. Historical subjects, religious themes, and portraits were valued, landscape, the Académie preferred carefully finished images that looked realistic when examined closely. Paintings in this style were made up of brush strokes carefully blended to hide the artists hand in the work. Colour was restrained and often toned down further by the application of a golden varnish, the Académie had an annual, juried art show, the Salon de Paris, and artists whose work was displayed in the show won prizes, garnered commissions, and enhanced their prestige. The standards of the juries represented the values of the Académie, represented by the works of artists as Jean-Léon Gérôme. In the early 1860s, four young painters—Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and they discovered that they shared an interest in painting landscape and contemporary life rather than historical or mythological scenes. A favourite meeting place for the artists was the Café Guerbois on Avenue de Clichy in Paris, where the discussions were led by Édouard Manet. They were soon joined by Camille Pissarro, Paul Cézanne, during the 1860s, the Salon jury routinely rejected about half of the works submitted by Monet and his friends in favour of works by artists faithful to the approved style. In 1863, the Salon jury rejected Manets The Luncheon on the Grass primarily because it depicted a woman with two clothed men at a picnic. While the Salon jury routinely accepted nudes in historical and allegorical paintings, the jurys severely worded rejection of Manets painting appalled his admirers, and the unusually large number of rejected works that year perturbed many French artists
Impressionism
–
Claude Monet,
Haystacks, (sunset), 1890–1891,
Museum of Fine Arts, Boston
Impressionism
–
Pierre-Auguste Renoir, Dance at Le Moulin de la Galette (
Bal du moulin de la Galette),
Musée d'Orsay, 1876
Impressionism
–
Édouard Manet,
The Luncheon on the Grass (Le déjeuner sur l'herbe), 1863
Impressionism
–
Alfred Sisley, View of the Saint-Martin Canal, Paris, 1870,
Musée d'Orsay
8.
Pointillism
–
Pointillism /ˈpɔɪntᵻlɪzəm/ is a technique of painting in which small, distinct dots of color are applied in patterns to form an image. Georges Seurat and Paul Signac developed the technique in 1886, branching from Impressionism, the term Pointillism was coined by art critics in the late 1880s to ridicule the works of these artists, and is now used without its earlier mocking connotation. The movement Seurat began with this technique is known as Neo-Impressionism, the Divisionists, too, used a similar technique of patterns to form images, though with larger cube-like brushstrokes. The technique relies on the ability of the eye and mind of the viewer to blend the color spots into a range of tones. It is related to Divisionism, a technical variant of the method. Divisionism is concerned with theory, whereas pointillism is more focused on the specific style of brushwork used to apply the paint. It is a technique with few serious practitioners today, and is seen in the works of Seurat, Signac. However, see also Andy Warhols early works, and Pop Art, the practice of Pointillism is in sharp contrast to the traditional methods of blending pigments on a palette. Pointillism is analogous to the four-color CMYK printing process used by some printers and large presses that place dots of Cyan, Magenta, Yellow. Televisions and computer monitors use a technique to represent image colors using Red, Green. If red, blue, and green light are mixed, the result is something close to white light, painting is inherently subtractive, but Pointillist colors often seem brighter than typical mixed subtractive colors. This may be partly because subtractive mixing of the pigments is avoided, the painting technique used for Pointillist color mixing is at the expense of the traditional brushwork used to delineate texture. The majority of Pointillism is done in oil paint, anything may be used in its place, but oils are preferred for their thickness and tendency not to run or bleed. Pointillism also refers to a style of 20th-century music composition, different musical notes are made in seclusion, rather than in a linear sequence, giving a sound texture similar to the painting version of Pointillism. This type of music is known as punctualism or klangfarbenmelodie
Pointillism
–
Detail from
Seurat 's La Parade de Cirque (1889), showing the contrasting dots of paint used in Pointillism
Pointillism
–
Paul Signac, Femmes au Puits, 1892, showing a detail with constituent colors.
Musée d'Orsay, Paris
Pointillism
–
Henri-Edmond Cross, L'air du soir, c.1893,
Musée d'Orsay
Pointillism
–
Vincent van Gogh, Self Portrait, 1887, using pointillist technique.
9.
Abstract art
–
Abstract art uses a visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world. Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective, the arts of cultures other than the European had become accessible and showed alternative ways of describing visual experience to the artist. By the end of the 19th century many artists felt a need to create a new kind of art which would encompass the fundamental changes taking place in technology, science and philosophy. The sources from which individual artists drew their theoretical arguments were diverse, Abstract art, non-figurative art, non-objective art, and nonrepresentational art are loosely related terms. They are similar, but perhaps not of identical meaning, Abstraction indicates a departure from reality in depiction of imagery in art. This departure from accurate representation can be slight, partial, or complete, even art that aims for verisimilitude of the highest degree can be said to be abstract, at least theoretically, since perfect representation is likely to be exceedingly elusive. Artwork which takes liberties, altering for instance color and form in ways that are conspicuous, total abstraction bears no trace of any reference to anything recognizable. In geometric abstraction, for instance, one is unlikely to find references to naturalistic entities, Figurative art and total abstraction are almost mutually exclusive. But figurative and representational art often contains partial abstraction, both geometric abstraction and lyrical abstraction are often totally abstract. It is at level of visual meaning that abstract art communicates. One can enjoy the beauty of Chinese calligraphy or Islamic calligraphy without being able to read it, in Chinese painting, abstraction can be traced to the Tang dynasty painter Wang Mo, who is credited to have invented the splashed-ink painting style. While none of his paintings remain, this style is seen in some Song Dynasty Paintings. A late Song painter named Yu Jian, adept to Tiantai buddhism and his paintings show heavily misty mountains in which the shapes of the objects are barely visible and extremely simplified. This type of painting was continued by Sesshu Toyo in his later years, another instance of abstraction in Chinese painting is seen in Zhu Deruns Cosmic Circle. The painting is a reflection of the Daoist metaphysics in which chaos, in Tokugawa Japan some zen monk-painters created Enso, a circle who represents the absolute enlightenment. Usually made in one spontaneous brush stroke, it became the paradigm of the minimalist aesthetic that guided part of the zen painting, three art movements which contributed to the development of abstract art were Romanticism, Impressionism and Expressionism. Artistic independence for artists was advanced during the 19th century, patronage from the church diminished and private patronage from the public became more capable of providing a livelihood for artists. Expressionist painters explored the use of paint surface, drawing distortions and exaggerations
Abstract art
–
Wassily Kandinsky,
Kandinsky's first abstract watercolor, 1910.
Abstract art
–
Robert Delaunay, 1912–13, Le Premier Disque, 134 cm (52.7 in.), Private collection.
Abstract art
–
James McNeill Whistler,
Nocturne in Black and Gold: The Falling Rocket (1874),
Detroit Institute of Arts. A near abstraction, in 1877 Whistler sued the art critic
John Ruskin for libel after the critic condemned this painting. Ruskin accused Whistler of "ask[ing] two hundred
guineas for throwing a pot of paint in the public's face."
Abstract art
–
Henri Matisse,
The Yellow Curtain, 1915. With his
Fauvist color and drawing Matisse comes very close to pure abstraction.
10.
United States
–
Forty-eight of the fifty states and the federal district are contiguous and located in North America between Canada and Mexico. The state of Alaska is in the northwest corner of North America, bordered by Canada to the east, the state of Hawaii is an archipelago in the mid-Pacific Ocean. The U. S. territories are scattered about the Pacific Ocean, the geography, climate and wildlife of the country are extremely diverse. At 3.8 million square miles and with over 324 million people, the United States is the worlds third- or fourth-largest country by area, third-largest by land area. It is one of the worlds most ethnically diverse and multicultural nations, paleo-Indians migrated from Asia to the North American mainland at least 15,000 years ago. European colonization began in the 16th century, the United States emerged from 13 British colonies along the East Coast. Numerous disputes between Great Britain and the following the Seven Years War led to the American Revolution. On July 4,1776, during the course of the American Revolutionary War, the war ended in 1783 with recognition of the independence of the United States by Great Britain, representing the first successful war of independence against a European power. The current constitution was adopted in 1788, after the Articles of Confederation, the first ten amendments, collectively named the Bill of Rights, were ratified in 1791 and designed to guarantee many fundamental civil liberties. During the second half of the 19th century, the American Civil War led to the end of slavery in the country. By the end of century, the United States extended into the Pacific Ocean. The Spanish–American War and World War I confirmed the status as a global military power. The end of the Cold War and the dissolution of the Soviet Union in 1991 left the United States as the sole superpower. The U. S. is a member of the United Nations, World Bank, International Monetary Fund, Organization of American States. The United States is a developed country, with the worlds largest economy by nominal GDP. It ranks highly in several measures of performance, including average wage, human development, per capita GDP. While the U. S. economy is considered post-industrial, characterized by the dominance of services and knowledge economy, the United States is a prominent political and cultural force internationally, and a leader in scientific research and technological innovations. In 1507, the German cartographer Martin Waldseemüller produced a map on which he named the lands of the Western Hemisphere America after the Italian explorer and cartographer Amerigo Vespucci
United States
–
Native Americans meeting with Europeans, 1764
United States
–
Flag
United States
–
The signing of the
Mayflower Compact, 1620.
United States
–
The
Declaration of Independence: the
Committee of Five presenting their draft to the
Second Continental Congress in 1776
11.
France
–
France, officially the French Republic, is a country with territory in western Europe and several overseas regions and territories. The European, or metropolitan, area of France extends from the Mediterranean Sea to the English Channel and the North Sea, Overseas France include French Guiana on the South American continent and several island territories in the Atlantic, Pacific and Indian oceans. France spans 643,801 square kilometres and had a population of almost 67 million people as of January 2017. It is a unitary republic with the capital in Paris. Other major urban centres include Marseille, Lyon, Lille, Nice, Toulouse, during the Iron Age, what is now metropolitan France was inhabited by the Gauls, a Celtic people. The area was annexed in 51 BC by Rome, which held Gaul until 486, France emerged as a major European power in the Late Middle Ages, with its victory in the Hundred Years War strengthening state-building and political centralisation. During the Renaissance, French culture flourished and a colonial empire was established. The 16th century was dominated by civil wars between Catholics and Protestants. France became Europes dominant cultural, political, and military power under Louis XIV, in the 19th century Napoleon took power and established the First French Empire, whose subsequent Napoleonic Wars shaped the course of continental Europe. Following the collapse of the Empire, France endured a succession of governments culminating with the establishment of the French Third Republic in 1870. Following liberation in 1944, a Fourth Republic was established and later dissolved in the course of the Algerian War, the Fifth Republic, led by Charles de Gaulle, was formed in 1958 and remains to this day. Algeria and nearly all the colonies became independent in the 1960s with minimal controversy and typically retained close economic. France has long been a centre of art, science. It hosts Europes fourth-largest number of cultural UNESCO World Heritage Sites and receives around 83 million foreign tourists annually, France is a developed country with the worlds sixth-largest economy by nominal GDP and ninth-largest by purchasing power parity. In terms of household wealth, it ranks fourth in the world. France performs well in international rankings of education, health care, life expectancy, France remains a great power in the world, being one of the five permanent members of the United Nations Security Council with the power to veto and an official nuclear-weapon state. It is a member state of the European Union and the Eurozone. It is also a member of the Group of 7, North Atlantic Treaty Organization, Organisation for Economic Co-operation and Development, the World Trade Organization, originally applied to the whole Frankish Empire, the name France comes from the Latin Francia, or country of the Franks
France
–
One of the
Lascaux paintings: a horse –
Dordogne, approximately 18,000 BC
France
–
Flag
France
–
The
Maison Carrée was a temple of the
Gallo-Roman city of Nemausus (present-day
Nîmes) and is one of the best preserved vestiges of the
Roman Empire.
France
–
With
Clovis ' conversion to Catholicism in 498, the
Frankish monarchy,
elective and
secular until then, became
hereditary and of
divine right.
12.
Museum of Modern Art
–
The Museum of Modern Art is an art museum located in Midtown Manhattan in New York City, on 53rd Street between Fifth and Sixth Avenues. MoMA has been important in developing and collecting modernist art, and is identified as one of the largest and most influential museums of modern art in the world. The MoMA Library includes approximately 300,000 books and exhibition catalogs, over 1,000 periodical titles, the archives holds primary source material related to the history of modern and contemporary art. The idea for The Museum of Modern Art was developed in 1929 primarily by Abby Aldrich Rockefeller and they became known variously as the Ladies, the daring ladies and the adamantine ladies. They rented modest quarters for the new museum in the Heckscher Building at 730 Fifth Avenue in Manhattan, and it opened to the public on November 7,1929, nine days after the Wall Street Crash. Abby had invited A. Conger Goodyear, the president of the board of trustees of the Albright Art Gallery in Buffalo, New York. At the time, it was Americas premier museum devoted exclusively to art. One of Abbys early recruits for the staff was the noted Japanese-American photographer Soichi Sunami. Goodyear enlisted Paul J. Sachs and Frank Crowninshield to join him as founding trustees, Sachs, the associate director and curator of prints and drawings at the Fogg Museum at Harvard University, was referred to in those days as a collector of curators. Goodyear asked him to recommend a director and Sachs suggested Alfred H. Barr, under Barrs guidance, the museums holdings quickly expanded from an initial gift of eight prints and one drawing. Its first successful exhibition was in November 1929, displaying paintings by Van Gogh, Gauguin, Cézanne. Abbys husband was opposed to the museum and refused to release funds for the venture. Nevertheless, he donated the land for the current site of the museum, plus other gifts over time. During that time it initiated many more exhibitions of noted artists, the museum also gained international prominence with the hugely successful and now famous Picasso retrospective of 1939–40, held in conjunction with the Art Institute of Chicago. In its range of presented works, it represented a significant reinterpretation of Picasso for future art scholars, Boy Leading a Horse was briefly contested over ownership with the Solomon R. Guggenheim Museum. In 1941, MoMA hosted the exhibition, Indian Art of the United States. His brother, David Rockefeller, also joined the board of trustees in 1948. David subsequently employed the noted architect Philip Johnson to redesign the garden and name it in honor of his mother
Museum of Modern Art
–
Museum of Modern Art
Museum of Modern Art
Museum of Modern Art
–
The entrance to The Museum of Modern Art
Museum of Modern Art
–
Stairs in the Museum of Modern Art
13.
Cuba
–
Cuba, officially the Republic of Cuba, is a country comprising the island of Cuba as well as Isla de la Juventud and several minor archipelagos. Cuba is located in the northern Caribbean where the Caribbean Sea, the Gulf of Mexico, and it is south of both the U. S. state of Florida and the Bahamas, west of Haiti, and north of Jamaica. Havana is the largest city and capital, other cities include Santiago de Cuba. Cuba is the largest island in the Caribbean, with an area of 109,884 square kilometres, prior to Spanish colonization in the late 15th century, Cuba was inhabited by Amerindian tribes. It remained a colony of Spain until the Spanish–American War of 1898, as a fragile republic, Cuba attempted to strengthen its democratic system, but mounting political radicalization and social strife culminated in the dictatorship of Fulgencio Batista in 1952. Further unrest and instability led to Batistas ousting in January 1959 by the July 26 Movement, since 1965, the state has been governed by the Communist Party of Cuba. A point of contention during the Cold War between the Soviet Union and the United States, a nuclear war broke out during the Cuban Missile Crisis of 1962. Culturally, Cuba is considered part of Latin America, Cuba is a Marxist–Leninist one-party republic, where the role of the vanguard Communist Party is enshrined in the Constitution. Independent observers have accused the Cuban government of human rights abuses. It is one of the worlds last planned economies and its economy is dominated by the exports of sugar, tobacco, coffee, according to the Human Development Index, Cuba is described as a country with high human development and is ranked the eighth highest in North America. It also ranks highly in some metrics of national performance, including health care, the name Cuba comes from the Taíno language. The exact meaning of the name is unclear but it may be translated either as where fertile land is abundant, authors who believe that Christopher Columbus was Portuguese state that Cuba was named by Columbus for the town of Cuba in the district of Beja in Portugal. Before the arrival of the Spanish, Cuba was inhabited by three distinct tribes of indigenous peoples of the Americas, the Taíno, the Guanajatabey, and the Ciboney people. The ancestors of the Ciboney migrated from the mainland of South America, the Taíno arrived from Hispanola sometime in the 3rd century A. D. When Columbus arrived they were the dominant culture in Cuba, having a population of 150,000. The name Cuba comes from the native Taíno language and it is derived from either coabana meaning great place, or from cubao meaning where fertile land is abundant. The Taíno were farmers, while the Ciboney were farmers as well as fishers and hunter-gatherers, Columbus claimed the island for the new Kingdom of Spain and named it Isla Juana after Juan, Prince of Asturias. In 1511, the first Spanish settlement was founded by Diego Velázquez de Cuéllar at Baracoa, other towns soon followed, including San Cristobal de la Habana, founded in 1515, which later became the capital
Cuba
–
Hatuey, an early
Taíno chief of Cuba.
Cuba
–
Flag
Cuba
–
Diego Velázquez de Cuéllar,
conquistador of Cuba.
Cuba
–
Slaves in Cuba unloading ice from Maine, c. 1832.
14.
Galicia (Spain)
–
Galicia is an autonomous community of Spain and historic nationality under Spanish law. It had a population of 2,718,525 in 2016 and has an area of 29,574 km2. Galicia has over 1,660 km of coastline, including its islands and islets, among them Cíes Islands, Ons, Sálvora, Cortegada. Galicia was incorporated into the Roman Empire at the end of the Cantabrian Wars in 19 BC, in 410, the Germanic Suebi established a kingdom with its capital in Braga, this kingdom was incorporated into that of the Visigoths in 585. The Governor also presided the Real Audiencia do Reino de Galicia, from the 16th century, the representation and voice of the kingdom was held by an assembly of deputies and representatives of the cities of the kingdom, the Cortes or Junta of the Kingdom of Galicia. This institution was forcibly discontinued in 1833 when the kingdom was divided into four provinces with no legal mutual links. During the 19th and 20th centuries, demand grew for self-government and this resulted in the Statute of Autonomy of 1936, soon frustrated by Francos coup detat and subsequent long dictatorship. After democracy was restored the legislature passed the Statute of Autonomy of 1981, approved in referendum and currently in force, the interior of Galicia is characterized by a hilly landscape, mountain ranges rise to 2,000 m in the east and south. The coastal areas are mostly a series of rías and cliffs. The climate of Galicia is usually temperate and rainy, with drier summers. Its topographic and climatic conditions have made animal husbandry and farming the primary source of Galicias wealth for most of its history, allowing for a relative high density of population. With the exception of shipbuilding and food processing, Galicia was based on a farming and fishing economy until after the mid-20th century, in 2012, the gross domestic product at purchasing power parity was €56,000 million, with a nominal GDP per capita of €20,700. There are smaller populations around the cities of Lugo and Ourense. The political capital is Santiago de Compostela, in the province of A Coruña, Vigo, in the province of Pontevedra, is the most populous municipality, with 292,817, while A Coruña is the most populous city, with 215,227. 56% of the Galician population speak Galician as their first language and these Callaeci were the first tribe in the area to help the Lusitanians against the invading Romans. The Romans applied their name to all the tribes in the northwest who spoke the same language. In any case, Galicia, being per se a derivation of the ethnic name Kallaikói, the name evolved during the Middle Ages from Gallaecia, sometimes written Galletia, to Gallicia. This coincides with the spelling of the Castilian Spanish name, the historical denomination Galiza became popular again during the end of the 19th and the first three-quarters of the 20th century, and is still used with some frequency today
Galicia (Spain)
–
A satellite view of Galicia
Galicia (Spain)
–
Flag
Galicia (Spain)
–
Bronze Age gold helmet from Leiro,
Rianxo
Galicia (Spain)
–
Palloza houses in eastern Galicia, an evolved form of the
Iron Age local
roundhouses
15.
Fernand Cormon
–
Fernand Cormon was a French painter born in Paris. He became a pupil of Alexandre Cabanel, Eugène Fromentin, and Jean-François Portaels and his father was the playwright Eugène Cormon. His mother was Charlotte Furais, the actress, the Musée dOrsay has his Cain flying before Jehovahs Curse, and for the Mairie of the fourth arrondissement of Paris he executed in grisaille a series of panels, Birth, Death, Marriage, War, etc. A Chiefs Funeral, and a series of paintings for the Museum of natural history in Paris with themes from the Stone Age. He was appointed to the Legion of Honor in 1880, subsequently he also devoted himself to portraiture. Among his students with whom he was unsuccessful on this point were, for instance, Henri de Toulouse-Lautrec, Louis Anquetin, Eugène Boch, Paul Tampier, Émile Bernard, other students included Alphonse Osbert, Marius Borgeaud, and Theodor Pallady. This article incorporates text from a now in the public domain, Chisholm, Hugh. Atelier Cormon ~1885 (note e. g. Toulouse-Lautrec, Tampier, Anquetin, last row, second after sculpture, É. Bernard
Fernand Cormon
–
Fernand Cormon.
Fernand Cormon
–
Murder in the
Seraglio, (1874)
Fernand Cormon
–
Cain flying before Jehovah's Curse (1880)
Fernand Cormon
–
A
Forge (1894)
16.
National Gallery of Art
–
The National Gallery of Art, and its attached Sculpture Garden, is a national art museum in Washington, D. C. located on the National Mall, between 3rd and 9th Streets, at Constitution Avenue NW. Open to the public and free of charge, the museum was established in 1937 for the American people by a joint resolution of the United States Congress. Andrew W. Mellon donated an art collection and funds for construction. The Gallery often presents temporary special exhibitions spanning the world and the history of art and it is one of the largest museums in North America. In 1930 Mellon formed the A. W. Mellon Educational and Charitable Trust, when quizzed by Abbot, he explained that the project was in the hands of the Trust and that its decisions were partly dependent on the attitude of the Government towards the gift. Designed by architect John Russell Pope, the new structure was completed and accepted by President Franklin D. Roosevelt on behalf of the American people on March 17,1941. Neither Mellon nor Pope lived to see the completed, both died in late August 1937, only two months after excavation had begun. At the time of its inception it was the largest marble structure in the world, as anticipated by Mellon, the creation of the National Gallery encouraged the donation of other substantial art collections by a number of private donors. The Gallerys East Building was constructed in the 1970s on much of the land left over from the original congressional joint resolution. It was funded by Mellons children Paul Mellon and Ailsa Mellon Bruce, designed by famed architect I. M. Pei, the contemporary structure was completed in 1978 and was opened on June 1 of that year by President Jimmy Carter. The new building was built to house the Museums collection of paintings, drawings, sculptures. The design received a National Honor Award from the American Institute of Architects in 1981, the final addition to the complex is the National Gallery of Art Sculpture Garden. Completed and opened to the public on May 23,1999, the National Gallery of Art is supported through a private-public partnership. The United States federal government provides funds, through annual appropriations, to support the museums operations, all artwork, as well as special programs, are provided through private donations and funds. The museum is not part of the Smithsonian Institution, noted directors of the National Gallery have included David E. Finley, Jr. John Walker, and J. Carter Brown. Rusty Powell III is the current director, entry to both buildings of the National Gallery of Art is free of charge. From Monday through Saturday, the museum is open from 10 a. m. –5 p. m. it is open from 11 –6 p. m. on Sundays and it is closed on December 25 and January 1. The museum comprises two buildings, the West Building and the East Building linked by an underground passage
National Gallery of Art
–
National Gallery of Art
National Gallery of Art
–
The East Building
National Gallery of Art
–
Exhibitions in the West Building
National Gallery of Art
–
Exhibitions in the East Building
17.
Vincent van Gogh
–
Vincent Willem van Gogh was a Dutch Post-Impressionist painter who is among the most famous and influential figures in the history of Western art. In just over a decade he created about 2,100 artworks, including around 860 oil paintings and his suicide at 37 followed years of mental illness and poverty. Born into a family, Van Gogh drew as a child and was serious, quiet. As a young man he worked as an art dealer, often travelling and he turned to religion, and spent time as a Protestant missionary in southern Belgium. He drifted in ill health and solitude before taking up painting in 1881 and his younger brother Theo supported him financially, and the two kept up a long correspondence by letter. His early works, mostly still lifes and depictions of peasant labourers, in 1886 he moved to Paris, where he met members of the avant-garde, including Émile Bernard and Paul Gauguin, who were reacting against the Impressionist sensibility. As his work developed he created a new approach to still lifes and his paintings grew brighter in colour as he developed a style that became fully realised during his stay in Arles in the south of France in 1888. During this period he broadened his subject matter to include trees, cypresses, wheat fields. Van Gogh suffered from episodes and delusions and though he worried about his mental stability, he often neglected his physical health, did not eat properly. His friendship with Gauguin ended after a confrontation with a razor and he spent time in psychiatric hospitals, including a period at Saint-Rémy. After he discharged himself and moved to the Auberge Ravoux in Auvers-sur-Oise near Paris and his depression continued and on 27 July 1890, Van Gogh shot himself in the chest with a revolver. He died from his injuries two days later, Van Gogh was unsuccessful during his lifetime, and was considered a madman and a failure. He became famous after his suicide, and exists in the imagination as the quintessential misunderstood genius. His reputation began to grow in the early 20th century as elements of his style came to be incorporated by the Fauves. The most comprehensive source on Van Gogh is the correspondence between him and his younger brother, Theo. Their lifelong friendship, and most of what is known of Vincents thoughts, Theo van Gogh was an art dealer and provided his brother with financial and emotional support, and access to influential people on the contemporary art scene. Theo kept all of Vincents letters to him, Vincent kept few of the letters he received, after both had died, Theos widow Johanna arranged for the publication of some of their letters. A few appeared in 1906 and 1913, the majority were published in 1914, Vincents letters are eloquent and expressive and have been described as having a diary-like intimacy, and read in parts like autobiography
Vincent van Gogh
–
Self-Portrait, Spring 1887, Oil on pasteboard, 42 × 33.7 cm.,
Art Institute of Chicago (F 345)
Vincent van Gogh
–
Vincent c. 1871-1872 aged 18. This photograph was taken at the time when he was working at the branch of
Goupil & Cie 's gallery in
The Hague.
Vincent van Gogh
–
Vincent c. 1866, approx. age 13
Vincent van Gogh
–
Van Gogh's drawing of
87 Hackford Road
18.
Toulouse-Lautrec
–
Toulouse-Lautrec is among the best-known painters of the Post-Impressionist period, with Cézanne, Van Gogh and Gauguin. In a 2005 auction at Christies auction house, La Blanchisseuse, his painting of a young laundress, sold for US$22.4 million. The last part of his name means he was a member of an aristocratic family and his younger brother was born in 1867, but died the following year. After the death of his brother, Henris parents separated and a nanny ended up taking care of him, at the age of eight, Henri went to live with his mother in Paris where he drew sketches and caricatures in his exercise workbooks. The family quickly realised that Henris talents lay in drawing and painting, a friend of his father, René Princeteau, visited sometimes to give informal lessons. Some of Henris early paintings are of horses, a speciality of Princeteau, in 1875, Toulouse-Lautrec returned to Albi because his mother had concerns about his health. He took thermal baths at Amélie-les-Bains and his mother consulted doctors in the hope of finding a way to improve her sons growth, Toulouse-Lautrecs parents, the Comte and Comtesse, were first cousins, and he suffered from congenital health conditions sometimes attributed to a family history of inbreeding. At age 13, Toulouse-Lautrec fractured his right femur, at age 14, he fractured his left. The breaks did not heal properly, modern physicians attribute this to an unknown genetic disorder, possibly pycnodysostosis, or a variant disorder along the lines of osteopetrosis, achondroplasia, or osteogenesis imperfecta. Rickets aggravated by praecox virilism has also been suggested, afterwards, his legs ceased to grow, so that as an adult he was extremely short. He developed an adult-sized torso, while retaining his child-sized legs, additionally, he is reported to have had hypertrophied genitals. Physically unable to participate in many activities enjoyed by males his age and he became an important Post-Impressionist painter, art nouveau illustrator, and lithographer, and, through his works, recorded many details of the late-19th-century bohemian lifestyle in Paris. Toulouse-Lautrec contributed a number of illustrations to the magazine Le Rire during the mid-1890s, after initially failing college entrance exams, he passed his second attempt and completed his studies. Toulouse-Lautrecs mother had high ambitions and, with the aim of her son becoming a fashionable and respected painter and he was drawn to Montmartre, the area of Paris famous for its bohemian lifestyle and the haunt of artists, writers, and philosophers. Studying with Bonnat placed Toulouse-Lautrec in the heart of Montmartre, an area he rarely left over the next 20 years. After Bonnat took a new job, Toulouse-Lautrec moved to the studio of Fernand Cormon in 1882 and studied for a five years. At this time he met Émile Bernard and Vincent van Gogh, Cormon, whose instruction was more relaxed than Bonnats, allowed his pupils to roam Paris, looking for subjects to paint. During this period, Toulouse-Lautrec had his first encounter with a prostitute, which led him to paint his first painting of a prostitute in Montmartre, a woman rumoured to be Marie-Charlet
Toulouse-Lautrec
–
Henri de Toulouse-Lautrec
Toulouse-Lautrec
–
La Toilette (fr), oil on board, 1896
Toulouse-Lautrec
–
Woman at the Tub from the Portfolio Elles (Femme au Tub) (1896)
Toulouse-Lautrec
–
Toulouse-Lautrec's grave in
Verdelais
19.
Centre Georges Pompidou
–
It was designed in the style of high-tech architecture by the architectural team of Richard Rogers and Renzo Piano, along with Gianfranco Franchini. Because of its location, the Centre is known locally as Beaubourg and it is named after Georges Pompidou, the President of France from 1969 to 1974 who commissioned the building, and was officially opened on 31 January 1977 by President Valéry Giscard dEstaing. As of 2006, the Centre Pompidou has had over 180 million visitors since 1977 and more than 5,209,678 visitors in 2013, including 3,746,899 for the museum. The sculpture Horizontal by Alexander Calder, a mobile that is 7.6 m tall, was placed in front of the Centre Pompidou in 2012. Hoping to renew the idea of Paris as a city of culture and art. Paris also needed a large, free library, as one did not exist at this time. At first the debate concerned Les Halles, but as the settled, in 1968. A year later in 1969, the new president adopted the Beaubourg project, in the process of developing the project, the IRCAM was also housed in the complex. By the mid-1980s, the Centre Pompidou was becoming the victim of its huge and unexpected popularity, its activities. By 1992, the Centre de Création Industrielle was incorporated into the Centre Pompidou, since re-opening in 2000 after a three-year renovation, the Centre Pompidou has improved accessibility for visitors. Now they can access the escalators if they pay to enter the museum. The Centre was designed by Italian architect Renzo Piano, British architect Richard Rogers, the project was awarded to this team in an architectural design competition, the results of which were announced in 1971. It was the first time in France that international architects were allowed to participate, world-renowned architects Oscar Niemeyer, Jean Prouvé and Philip Johnson made up the jury which would select one design out of the 681 entries. National Geographic described the reaction to the design as love at second sight, an article in Le Figaro declared Paris has its own monster, just like the one in Loch Ness. The Pritzker jury said the Pompidou revolutionised museums, transforming what had once been elite monuments into popular places of social and cultural exchange, the Centre was built by GTM and completed in 1977. The building cost 993 million 1972 French francs, renovation work conducted from October 1996 to January 2000 was completed on a budget of 576 million 1999 francs. The black-painted mechanical sculptures are by Tinguely, the works by de Saint-Phalle. Video footage of the fountain appeared frequently throughout the French language telecourse, the Place Georges Pompidou in front of the museum is noted for the presence of street performers, such as mimes and jugglers
Centre Georges Pompidou
–
Centre Georges Pompidou
Centre Georges Pompidou
–
Building technology
Centre Georges Pompidou
–
Pablo Picasso 's works in the Centre
Centre Georges Pompidou
–
The
Centre Pompidou-Metz.
20.
Alfred Sisley
–
Alfred Sisley was an Impressionist landscape painter who was born and spent most of his life in France, but retained British citizenship. He was the most consistent of the Impressionists in his dedication to painting en plein air. He deviated into figure painting only rarely and, unlike Renoir and Pissarro, among his important works are a series of paintings of the River Thames, mostly around Hampton Court, executed in 1874, and landscapes depicting places in or near Moret-sur-Loing. Over the years Sisleys power of expression and colour intensity increased, Sisley was born in Paris to affluent British parents. His father, William Sisley, was in the silk business, in 1857 at the age of 18, Sisley was sent to London to study for a career in business, but he abandoned it after four years and returned to Paris in 1861. Together they would paint landscapes en plein air rather than in the studio and this approach, innovative at the time, resulted in paintings more colourful and more broadly painted than the public was accustomed to seeing. Consequently, Sisley and his friends initially had few opportunities to exhibit or sell their work and their works were usually rejected by the jury of the most important art exhibition in France, the annual Salon. During the 1860s, though, Sisley was in a financial position than some of his fellow artists. In 1866, Sisley began a relationship with Eugénie Lesouezec, a Breton living in Paris, the couple had two children, son Pierre and daughter Jeanne. At the time, Sisley lived not far from Avenue de Clichy and the Café Guerbois, in 1868, his paintings were accepted at the Salon, but the exhibition did not bring him financial or critical success, nor did subsequent exhibitions. In 1870 the Franco-Prussian War began, and as a result Sisleys fathers business failed, for the remainder of his life he would live in poverty, as his paintings did not rise significantly in monetary value until after his death. Occasionally, however, Sisley would be backed by patrons, the first of these occurred in 1874 after the first independent Impressionist exhibition. Here, as art historian Anne Poulet has said, the landscapes with their constantly changing atmosphere were perfectly attuned to his talents. Unlike Monet, he never sought the drama of the ocean or the brilliantly colored scenery of the Côte dAzur. In 1881 Sisley made a brief voyage to Britain. In 1897 Sisley and his partner visited Britain again, and were married in Cardiff Register Office on 5 August. They stayed at Penarth, where Sisley painted at least six oils of the sea, in mid-August they moved to the Osborne Hotel at Langland Bay on the Gower Peninsula, where he produced at least eleven oil paintings in and around Langland Bay and Rotherslade Bay. They returned to France in October and this was Sisleys last voyage to his ancestral homeland
Alfred Sisley
–
Alfred Sisley: 1882
Alfred Sisley
–
Pierre-Auguste Renoir, Alfred Sisley and his wife
Alfred Sisley
–
Molesey Weir – Morning, one of the paintings executed by Sisley on his visit to Britain in 1874
Alfred Sisley
–
Rest along the Stream. Edge of the Wood, 1878,
Musée d'Orsay
21.
Claude Monet
–
Monets ambition of documenting the French countryside led him to adopt a method of painting the same scene many times in order to capture the changing of light and the passing of the seasons. From 1883 Monet lived in Giverny, where he purchased a house and property, Claude Monet was born on 14 November 1840 on the fifth floor of 45 rue Laffitte, in the 9th arrondissement of Paris. He was the son of Claude Adolphe Monet and Louise Justine Aubrée Monet. On 20 May 1841, he was baptized in the parish church, Notre-Dame-de-Lorette, as Oscar-Claude. Despite being baptized Catholic, Monet later became an atheist, in 1845, his family moved to Le Havre in Normandy. His father wanted him to go into the familys ship-chandling and grocery business and his mother was a singer, and supported Monets desire for a career in art. On 1 April 1851, Monet entered Le Havre secondary school of the arts, locals knew him well for his charcoal caricatures, which he would sell for ten to twenty francs. Monet also undertook his first drawing lessons from Jacques-François Ochard, a student of Jacques-Louis David. On the beaches of Normandy around 1856 he met fellow artist Eugène Boudin, Boudin taught Monet en plein air techniques for painting. Both received the influence of Johan Barthold Jongkind, on 28 January 1857, his mother died. At the age of sixteen, he left school and went to live with his widowed, childless aunt, when Monet traveled to Paris to visit the Louvre, he witnessed painters copying from the old masters. Having brought his paints and other tools with him, he would go and sit by a window. Monet was in Paris for several years and met other painters, including Édouard Manet and others who would become friends. After drawing a low number in March 1861, Monet was drafted into the First Regiment of African Light Cavalry in Algeria for a seven-year period of military service. His prosperous father could have purchased Monets exemption from conscription but declined to do so when his son refused to give up painting. While in Algeria Monet did only a few sketches of scenes, a single landscape. In a Le Temps interview of 1900 however he commented that the light, after about a year of garrison duty in Algiers, Monet contracted typhoid fever and briefly went absent without leave. Following convalescence, Monets aunt intervened to get him out of the army if he agreed to complete a course at an art school and it is possible that the Dutch painter Johan Barthold Jongkind, whom Monet knew, may have prompted his aunt on this matter
Claude Monet
–
Claude Monet, photo by
Nadar, 1899.
Claude Monet
–
Impression, Sunrise (Impression, soleil levant), 1872; the painting that gave its name to the style.
Musée Marmottan Monet, Paris
Claude Monet
–
The Woman in the Green Dress,
Camille Doncieux, 1866,
Kunsthalle Bremen
Claude Monet
–
Le déjeuner sur l'herbe, (right section), 1865–1866, with
Gustave Courbet,
Frédéric Bazille and Camille Doncieux, first wife of the artist,
Musée d'Orsay,
Paris
22.
Paul Signac
–
Paul Victor Jules Signac was a French Neo-Impressionist painter who, working with Georges Seurat, helped develop the Pointillist style. Paul Signac was born in Paris on 11 November 1863 and he followed a course of training in architecture before deciding at the age of 18 to pursue a career as a painter after attending an exhibit of Monets work. He sailed around the coasts of Europe, painting the landscapes he encountered and he also painted a series of watercolors of French harbor cities in later years. In 1884 he met Claude Monet and Georges Seurat, many of Signacs paintings are of the French coast. He loved to paint the water and he left the capital each summer, to stay in the south of France in the village of Collioure or at St. Tropez, where he bought a house and invited his friends. Paul Signac, Albert Dubois-Pillet, Odilon Redon and Georges Seurat were among the founders of the Société des Artistes Indépendants, the association began in Paris 29 July 1884 with the organization of massive exhibitions, with the device No jury nor awards. The purpose of Société des Artistes Indépendants—based on the principle of abolishing admission jury—is to allow the artists to present their works to public judgement with complete freedom, for the following three decades their annual exhibitions set the trends in art of the early 20th century. At the 1905 Salon des Indépendants, Henri Matisse exhibited the proto-Fauve painting Luxe, Signac purchased the work after the 1905 Salon des Indépendants. In 1908 Signac was elected president of the 24th Salon des Indépendants, in 1886 Signac met Vincent van Gogh in Paris. In 1887 the two regularly went to Asnières-sur-Seine together, where they painted such subjects as river landscapes. Initially, Van Gogh chiefly admired Signac’s loose painting technique, in March 1889, Signac visited Van Gogh at Arles. The next year he made a trip to Italy, seeing Genoa, Florence. In 1888, Signac discovered anarchist ideas by reading Elisee Reclus, Kropotkin and Jean Grave, with his friends Angrand Cross, Maximilien Luce and Camille Pissarro he contributed to Jean Grave’s paper Les Temps Nouveaux. His financial support was considerable, he sent regular cheques and made a gift of his works for five lotteries between 1895 and 1912, from his various ports of call, Signac brought back vibrant, colorful watercolors, sketched rapidly from nature. From these sketches, he painted large canvases that are carefully worked out in small, mosaic-like squares of color, quite different from the tiny. Signac himself experimented with various media, as well as oil paintings and watercolors he made etchings, lithographs, and many pen-and-ink sketches composed of small, laborious dots. The Neo-Impressionists influenced the next generation, Signac inspired Henri Matisse and André Derain in particular, as president of the Société des Artistes Indépendants from 1908 until his death, Signac encouraged younger artists by exhibiting the controversial works of the Fauves and the Cubists. Signac served as a juror with Florence Meyer Blumenthal in awarding the Prix Blumenthal, in September 1913, Signac rented a house at Antibes, where he settled with Jeanne Selmersheim-Desgrange, who gave birth to their daughter Ginette on 2 October 1913
Paul Signac
–
Paul Signac with his palette, ca. 1883
Paul Signac
–
Paul Signac, Portrait of
Félix Fénéon, 1890, oil on canvas, 73.5 × 92.5 cm (28.9 × 36.4 in),
Museum of Modern Art, New York
Paul Signac
–
Georges Seurat Portrait of Paul Signac, 1890,
conté crayon, private collection
Paul Signac
–
In the Time of Harmony. The Golden Age is not in the Past, it is in the Future, 1893-95, oil on canvas, 310 x 410 cm (122 × 161.4 in), Mairie de Montreuil
23.
Puteaux Group
–
The Section dOr, also known as Groupe de Puteaux, was a collective of painters, sculptors, poets and critics associated with Cubism and Orphism. Based in the Parisian suburbs, the group held meetings at the home of the Duchamp brothers in Puteaux. Active from 1911 to around 1914, members of the came to prominence in the wake of their controversial showing at the Salon des Indépendants in the spring of 1911. The Salon de la Section dOr, held October 1912—the largest and most important public showing of Cubist works prior to World War I—exposed Cubism to an audience still. After the war, with support given by the dealer Léonce Rosenberg, the Puteaux Group organized their first exhibition under the name Salon de la Section dOr at the Galerie La Boétie in Paris, October 1912. Following the 1911 Salon exhibitions the group formed by Le Fauconnier, Metzinger, Gleizes, Léger, francis Picabia was introduced to the circle, perhaps by Guillaume Apollinaire with whom he had recently become friendly. Most importantly was the contact established with Metzinger and the Duchamp brothers, the opening address was given by Apollinaire. The 1912 Salon de la Section dOr was arguably the most important pre-World War I Cubist exhibition, in the previous year the Cubists and a large number of their associates had exhibited at the Galerie de lArt Contemporain under the auspices of the Société Normande de Peinture Moderne. This exhibition had received attention in the press, though due to the diversity of the works presented it had been referred to as an exposition des fauves et cubistes. The Salon de la Section dOr, however, was accepted as being entirely Cubist in nature. Over 200 works were displayed, and the fact many of the artists showed artworks representative of their development from 1909 to 1912 gave the exhibition the allure of a Cubist retrospective. The inauguration was held from nine until midnight, for which the precedent was the opening of the 1903 Salon dAutomne. Invitations were widely diffused prior to the show, and many of the guests had to be turned away on opening night. Undoubtedly, due to the success of the exhibition, Cubism became recognized as a tendency, genre or style in art with a specific common philosophy or goal. The idea of the Section dOr originated in the course of conversations between Gleizes, Metzinger and Jacques Villon, the groups title was suggested by Villon, after reading a 1910 translation of Leonardo da Vincis Trattato della Pittura by Joséphin Péladan. Peladan attached great significance to the golden section, and other similar geometric configurations. For Villon, this symbolized his belief in order and the significance of mathematical proportions, because it reflected patterns, jean Metzinger and the Duchamp brothers were passionately interested in mathematics. The name La Section dOr represented simultaneously a continuity with past traditions and current trends in related fields, the Section dOr group founded by some of the most prominent Cubists was in effect an homage to Georges Seurat
Puteaux Group
–
La Section d'Or, Numéro spécial, 9 Octobre 1912
Puteaux Group
–
Jean Metzinger, 1911-1912,
La Femme au Cheval (Woman with a horse), oil on canvas, 162 x 130 cm, Statens Museum for Kunst, National Gallery of Denmark. Published in Apollinaire's 1913 Les Peintres Cubistes, Exhibited at the 1912 Salon des Indépendants. Provenance: Jacques Nayral,
Niels Bohr
Puteaux Group
–
Albert Gleizes, 1911,
La Chasse (the Hunt), oil on canvas, 123.2 x 99 cm. Published in L'Intransigeant, 10 October 1911, "Les Peintre Cubistes" 1913, by G. Apollinaire, and ' Au Salon d'Automne', Revue d'Europe et d'Amerique, Paris, October 1911. Exhibited at the 1911 Salon d'Automne, Valet de Carreau (Jack of Diamonds), Moscow, 1912, and Galerie de la Boétie, Salon de la Section d'Or, Paris, 1912
Puteaux Group
–
Marcel Duchamp, 1912,
Nude Descending a Staircase, No. 2, oil on canvas, 147 x 89.2 cm (57.9 in × 35.1 in),
Philadelphia Museum of Art. Exhibited at the Salon de la Section d'Or, 1912, Armory Show, 1913, New York
24.
Jacques Villon
–
Jacques Villon was a French Cubist painter and printmaker. Born Emile Méry Frédéric Gaston Duchamp in Damville, Eure, in the Haute-Normandie region of France, he came from a prosperous, while he was a young man, his maternal grandfather Emile Nicolle, successful businessman and artist, taught him and his siblings. There, he studied law at the University of Paris, to distinguish himself from his siblings, Gaston Duchamp adopted the pseudonym of Jacques Villon as a tribute to the French medieval poet François Villon. His work appeared in the satirical weekly Le Courrier français, in 1903 he helped organize the drawing section of the first Salon dAutomne in Paris. In 1904-1905 he studied art at the Académie Julian, during the First World War, Villon worked as a cartographer for the army. At first, he was influenced by Edgar Degas and Henri de Toulouse-Lautrec, but later he participated in the fauvist, Cubist, by 1906, Montmartre was a bustling community and Jacques Villon moved to Puteaux in the quiet outskirts of Paris. There, he began to more of his time to working in drypoint. During this time he worked closely to develop his technique with other important printmakers such as Manuel Robbe and his isolation from the vibrant art community in Montmartre, together with his modest nature, ensured that he and his artwork remained obscure for a number of years. Villon was instrumental in having the group exhibit under the name Section dOr after the section of classical mathematics. Their first show, Salon de la Section dOr, held at the Galerie La Boétie in October 1912, in 1913, Villon created seven large drypoints in which forms break into shaded pyramidal planes. That year, he exhibited at the Armory Show in New York City and his works proved popular and all his art sold. From there, his reputation expanded so that by the 1930s he was known in the United States than in Europe. In May 2004, an oil painting by Villon dated 1913 entitled LAcrobate, an exhibition of Jacques Villons work was held in Paris in 1944 at the Galerie Louis Carré, following which he received honors at a number of international exhibitions. In 1938 he was named Chevalier of the Legion of Honor, in 1947 he was promoted to Officier of the Legion of Honor. In 1950, Villon received the Carnegie Prize, the highest award for painting in the world, the following year he was commissioned to design stained-glass windows for the cathedral at Metz, France. In 1956 he was awarded the Grand Prix at the Venice Biennale exhibition, Villon died in his studio at Puteaux. In 1967, in Rouen, his last surviving artist brother Marcel helped organize an exhibition called Les Duchamp, Jacques Villon, Raymond Duchamp-Villon, Marcel Duchamp, some of this family exhibition was later shown at the Musée National dArt Moderne in Paris. C. Art Gallery of New South Wales, Bibliothèque Nationale, Paris, leading private collections which include the works of Villon are the Joachim Collection of Chicago, the Vess Collection of Detroit, and the Ginestet Collection of Paris
Jacques Villon
–
Three Duchamp brothers, left to right:
Marcel Duchamp, Jacques Villon, and
Raymond Duchamp-Villon in the garden of Jacques Villon's studio in Puteaux, France, 1914, (
Smithsonian Institution collections.)
Jacques Villon
–
Le Petit Manège, rue Caulaincourt, 1905,
University of Michigan Museum of Art
Jacques Villon
–
Jacques Villon, 1912, Girl at the Piano (Fillette au piano), oil on canvas, 129.2 x 96.4 cm (51 x 37.8 in), oval,
Museum of Modern Art, New York. Exhibited at the 1913
Armory Show, New York, Chicago and Boston. Purchased from the Armory Show by
John Quinn
Jacques Villon
–
Jacques Villon, 1912, The Dining Table, oil on canvas, 65.7 × 81.3 cm,
Metropolitan Museum of Art, New York
25.
Puteaux
–
Puteaux is a commune in the western suburbs of Paris, France. It is located in the heart of the Hauts-de-Seine department 8.7 kilometres from the center of Paris, La Défense, Paris business district hosting the tallest buildings in the metropolitan area, spreads over the northern part of Puteaux and parts of the neighbouring communes Courbevoie and Nanterre. The inhabitants of Puteaux are called Putéoliens, the creation of the city dates from 1148, by Abbot Suger and gave him the name Putiauz. The foundation of Puteaux part of other towns in the region by Abbot Suger, as Carrières-sur-Seine, Vaucresson or Villeneuve-la-Garenne. This appeal was reinforced by certain privileges granted by the Abbot Suger, the name Putiauz comes from the old French Putel, which means a quagmire or swamp and was certainly making reference to the condition of the area before its reorganization. But another etymology exists, hence the name Puteaux would come from Latin puteoli, the name of Puteaux in turn appears to the sixteenth century or seventeenth century. Legend has it that Puteaux inspired the story of the gadfly from La Fontaine, located on the left bank of the river Seine, Puteaux borders Courbevoie to the north, Nanterre to the west and Suresnes to the south. In the east, Puteaux is connected to Paris by the bridge of Puteaux near Neuilly, the territory of the commune of Puteaux also includes the largest part of the Île de Puteaux, on the Seine. Within Puteaux several districts can be distinguished, the district Bas de Puteaux, located between the railway line and the Seine, is the oldest urbanized district. Notable in particular are the old church, the Théâtre des Hauts-de-Seine, the town hall, the town hall was built in 1934 and is a typical example of the architecture of this time. The boulevard Richard Wallace is the Champs-Élysées of Puteaux, the district La Défense is located in the north, separated by the circular boulevard. The district, developed since the end of the 1950s, is one of the business districts in Europe. It mainly consists of buildings, but some notable dwellings can be found within the district as well. Two thirds of the territory of La Défense is located within Puteaux, thus, the CNIT, the Arche de la Défense and the Quatre Temps shopping mall are in Puteaux. The district Île de Puteaux, on there are no dwellings besides some barges. A sporting complex, the Palais des sports, opened in July 2006, tour Pascal B in La Défense and in Puteaux has the head offices of the Bureau dEnquêtes sur les Événements de Mer and of the Ministry of Ecology, Energy, Sustainable Development and Sea. The tax revenue of La Défense makes Puteaux one of the richest communes of France, Puteaux receives forty million euros per year coming from the companies within the district alone. Puteaux does not have a debt and its reserves, placed in Treasury bills
Puteaux
–
The town hall (1931-1933) built by Jean Niermans
26.
Marcel Duchamp
–
Duchamp has had an immense impact on twentieth-century and twenty first-century art. By World War I, he had rejected the work of many of his artists as retinal art. Instead, Duchamp wanted to use art to serve the mind, Marcel Duchamp was born at Blainville-Crevon in Normandy, France, and grew up in a family that enjoyed cultural activities. The art of painter and engraver Émile Frédéric Nicolle, his grandfather, filled the house, and the family liked to play chess, read books, paint. Of Eugene and Lucie Duchamps seven children, one died as an infant, Marcel Duchamp was the brother of, Jacques Villon, painter, printmaker Raymond Duchamp-Villon, sculptor Suzanne Duchamp-Crotti, painter. At 8 years old, Duchamp followed in his brothers footsteps when he left home and began schooling at the Lycée Pierre-Corneille, two other students in his class also became well-known artists and lasting friends, Robert Antoine Pinchon and Pierre Dumont. For the next 8 years, he was locked into a regime which focused on intellectual development. Though he was not a student, his best subject was mathematics. He also won a prize for drawing in 1903, and at his commencement in 1904 he won a coveted first prize and he learned academic drawing from a teacher who unsuccessfully attempted to protect his students from Impressionism, Post-Impressionism, and other avant-garde influences. However, Duchamps true artistic mentor at the time was his brother Jacques Villon, whose fluid, at 14, his first serious art attempts were drawings and watercolors depicting his sister Suzanne in various poses and activities. That summer he painted landscapes in an Impressionist style using oils. Duchamps early art works align with Post-Impressionist styles and he experimented with classical techniques and subjects. He studied art at the Académie Julian from 1904 to 1905, during this time Duchamp drew and sold cartoons which reflected his ribald humor. Many of the drawings use verbal puns, visual puns, or both, such play with words and symbols engaged his imagination for the rest of his life. In 1905, he began his military service with the 39th Infantry Regiment. There he learned typography and printing processes—skills he would use in his later work, due to his eldest brother Jacques membership in the prestigious Académie royale de peinture et de sculpture Duchamps work was exhibited in the 1908 Salon dAutomne. The following year his work was featured in the Salon des Indépendants, of Duchamps pieces in the show, critic Guillaume Apollinaire—who was to become a friend—criticized what he called Duchamps very ugly nudes. The group came to be known as the Puteaux Group, or the Section dOr, uninterested in the Cubists seriousness or in their focus on visual matters, Duchamp did not join in discussions of Cubist theory, and gained a reputation of being shy
Marcel Duchamp
–
Portrait of Marcel Duchamp, 1920-21, by
Man Ray, Yale University Art Gallery
Marcel Duchamp
Marcel Duchamp
–
Three Duchamp brothers, left to right: Marcel Duchamp,
Jacques Villon, and
Raymond Duchamp-Villon in the garden of Jacques Villon's studio in Puteaux, France, 1914, (
Smithsonian Institution collections.)
Marcel Duchamp
27.
Guillaume Apollinaire
–
Guillaume Apollinaire was a French poet, playwright, short story writer, novelist, and art critic of Polish descent. Apollinaire is considered one of the foremost poets of the early 20th century, as well as one of the most impassioned defenders of Cubism and a forefather of Surrealism. He is credited with coining the term cubism in 1911 to describe the art movement. The term Orphism is also his, Apollinaire wrote one of the earliest Surrealist literary works, the play The Breasts of Tiresias, which became the basis for the 1947 opera Les mamelles de Tirésias. Two years after being wounded in World War I, Apollinaire died in the Spanish flu pandemic of 1918, wilhelm Albert Włodzimierz Apolinary Kostrowicki was born in Rome, Italy, and was raised speaking French, Italian, and Polish. He emigrated to France in his teens and adopted the name Guillaume Apollinaire. His mother, born Angelika Kostrowicka, was a Polish noblewoman born near Navahrudak and his maternal grandfather was a general in the Russian Imperial Army who was killed in the Crimean War. Apollinaires father is unknown but may have been Francesco Costantino Camillo Flugi dAspermont, Francesco Flugi von Aspermont was a nephew of Conradin Flugi dAspermont, a poet who wrote in ladin putèr, and perhaps also of the Minnesänger Oswald von Wolkenstein. Apollinaire eventually moved from Rome to Paris and became one of the most popular members of the community of Paris. He became romantically involved with Marie Laurencin, who is identified as his muse. In late 1909 or early 1910, Metzinger painted a Cubist portrait of Apollinaire. In his Vie anecdotique, the poet proudly writes, I am honoured to be the first model of a Cubist painter, Jean Metzinger, in 1911 he joined the Puteaux Group, a branch of the Cubist movement soon to be known as the Section dOr. The opening address of the 1912 Salon de la Section dOr—the most important pre-World War I Cubist exhibition—was given by Apollinaire. On 7 September 1911, police arrested and jailed him on suspicion of aiding and abetting the theft of the Mona Lisa and a number of Egyptian statuettes from the Louvre, but released him a week later. The theft of the statues was committed by a secretary of Apollinaires, Honoré Joseph Géry Pieret. Apollinaire implicated his friend Pablo Picasso, who was brought in for questioning in the theft of the Mona Lisa. The theft of the Mona Lisa was perpetrated by Vincenzo Peruggia, Apollinaire was active as a journalist and art critic for Le Matin, Intransigeant, and Paris Journal. He once called for the Louvre to be burnt down, Apollinaire wrote the preface for the first Cubist exposition outside of Paris, VIII Salon des Indépendants, Brussels,1911
Guillaume Apollinaire
–
Photograph of Guillaume Apollinaire in spring 1916 after his shrapnel wound to the temple
Guillaume Apollinaire
–
Apollinaire, 1902, Cologne
Guillaume Apollinaire
–
"La Joconde est Retrouvée" (The Mona Lisa is Found), Le Petit Parisien, No. 13559, 13 December 1913
Guillaume Apollinaire
–
Jean Metzinger, 1911, Etude pour le portrait de Guillaume Apollinaire, graphite on paper, 48 x 31.2 cm,
Musée National d'Art Moderne,
Centre Georges Pompidou, Paris
28.
Albert Gleizes
–
Albert Gleizes was a French artist, theoretician, philosopher, a self-proclaimed founder of Cubism and an influence on the School of Paris. Albert Gleizes and Jean Metzinger wrote the first major treatise on Cubism, Gleizes was a founding member of the Section dOr group of artists. He was also a member of Der Sturm, and his theoretical writings were originally most appreciated in Germany. Gleizes spent four years in New York, and played an important role in making America aware of modern art. He was a member of the Society of Independent Artists, founder of the Ernest-Renan Association, Gleizes exhibited regularly at Léonce Rosenberg’s Galerie de l’Effort Moderne in Paris, he was also a founder, organizer and director of Abstraction-Création. From the mid-1920s to the late 1930s much of his energy went into writing, La Peinture et ses lois, Vers une conscience plastique, La Forme et l’histoire and Homocentrisme. Born Albert Léon Gleizes and raised in Paris, he was the son of a designer who ran a large industrial design workshop. He was also the nephew of Léon Comerre, a portrait painter who won the 1875 Prix de Rome. The young Albert Gleizes did not like school and often skipped classes to idle away the time writing poetry, finally, after completing his secondary schooling, Gleizes spent four years in the 72nd Infantry Regiment of the French army then began pursuing a career as a painter. Gleizes began to paint self-taught around 1901 in the Impressionist tradition and his first landscapes from around Courbevoie appear particularly inspired by Sisley or Pissarro. The density with which these works are painted and their solid framework suggest affinities with Divisionism which were noted by early critics. Gleizes was only years of age when his work titled La Seine à Asnières was exhibited at the Société Nationale des Beaux-Arts in 1902. The following year Gleizes exhibited two paintings at the Salon dAutomne, in 1905 Gleizes was among the founders of lAssociation Ernest-Renan, a union of students opposed to military propaganda. Gleizes was in charge of the Section littéraire et artistique, organizing theater productions, at the Musée des Beaux-Arts de Lyon, Gleizes exhibited Jour de marché en banlieue. Tending towards 1907 his work evolved into a Post-Impressionist style with strong Naturalist and Symbolist components, Gleizes and others decide to create an association fraternelle dartistes and rent a large house in Créteil. The Abbaye de Créteil was a community of artists that aimed to develop their art free of any commercial concerns. For nearly a year, Gleizes along with painters, poets, musicians and writers. A lack of income forced them to give up their cherished Abbaye de Créteil in early 1908 and Gleizes moved to rue du Delta near Montmartre, in 1908 Gleizes exhibited at the Toison dOr in Moscow
Albert Gleizes
–
Albert Gleizes, circa 1920
Albert Gleizes
–
Albert Gleizes, 1909,
Bords de la Marne, oil on canvas, 54 x 65 cm, Musée des Beaux-Arts, Lyon
Albert Gleizes
–
Albert Gleizes, 1910,
La Femme aux Phlox (Woman with Phlox), oil on canvas, 81 x 100 cm, exhibited
Armory Show, New York, 1913,
Museum of Fine Arts, Houston
Albert Gleizes
–
Albert Gleizes, 1911,
Portrait de Jacques Nayral, oil on canvas, 161.9 x 114 cm, Tate Modern, London. This painting was reproduced in Fantasio: published 15 October 1911, for the occasion of the Salon d'Automne where it was exhibited the same year.
29.
Roger de La Fresnaye
–
Roger de La Fresnaye was a French cubist painter. La Fresnaye was born in Le Mans where his father, an officer in the French army, was temporarily stationed, the La Fresnayes were an aristocratic family whose ancestral home, the Château de La Fresnaye, is in Falaise. His education was based, and was followed from 1903 to 1904 by studies at the Académie Julian in Paris. From 1908 he studied at the Académie Ranson under Maurice Denis and Paul Sérusier and this demonstrates the dreamlike symbolist ambience and stylistic character of work by the Les Nabis group. From 1912 to 1914 La Fresnaye was a member of the Section dOr group of artists and he was influenced by Georges Braque and Pablo Picasso, but his work has a more decorative than structural feel and his prismatic colours reflect the influence of Robert Delaunay. He was a member of the Puteaux Group, an orphist offshoot of cubism led by Jacques Villon and his most famous work is The Conquest of the Air,1913, which depicts himself and his brother outdoors with a balloon in the background. La Fresnaye enlisted in the French army in World War I and his health deteriorated rapidly after the war. He never recovered the physical energy to undertake sustained work, in the later paintings that he did create, he abandoned cubist spatial analysis for a more linear style. He ceased painting in 1922 but continued to draw, de la Fresnaye died in Grasse in 1925 at the age of 40. Artcyclopedia - Links to Fresnayes works Roger de La Fresnaye in American public collections, on the French Sculpture Census website
Roger de La Fresnaye
–
Self portrait, c. 1906
Roger de La Fresnaye
–
Deux nus dans un paysage, 1910, MNAM,
Centre Georges Pompidou, Paris
Roger de La Fresnaye
–
Cuirassier, 1912, Musée des Beaux-Arts, Lyon
Roger de La Fresnaye
–
Artillery, 1911,
Metropolitan Museum of Art, New York
30.
Jean Metzinger
–
Jean Dominique Antony Metzinger was a major 20th-century French painter, theorist, writer, critic and poet, who along with Albert Gleizes wrote a theoretical work on Cubism. His earliest works, from 1900 to 1904, were influenced by the Neo-impressionism of Georges Seurat, between 1904 and 1907 Metzinger worked in the Divisionist and Fauvist styles with a strong Cézannian component, leading to some of the first proto-Cubist works. From 1908 Metzinger experimented with the faceting of form, a style that would become known as Cubism. His early involvement in Cubism saw him both as an influential artist and an important theorist of the movement. The idea of moving around an object in order to see it from different view-points is treated, for the first time, in Metzingers Note sur la Peinture, before the emergence of Cubism, painters worked from the limiting factor of a single view-point. Jean Metzinger and Albert Gleizes wrote the first major treatise on Cubism in 1912, Metzinger was a founding member of the Section dOr group of artists. During the First World War Metzinger furthered his role as a leading Cubist with his co-founding of the phase of the movement. He recognized the importance of mathematics in art, through a radical geometrization of form as an underlying basis for his wartime compositions. As post-war reconstruction began, a series of exhibitions at Léonce Rosenbergs Galerie de LEffort Moderne were to highlight order, the collective phenomenon of Cubism—now in its advanced revisionist form—became part of a widely discussed development in French culture, with Metzinger at its helm. In terms of the separation of culture and life, this period emerges as the most important in the history of Modernism, for Metzinger, the classical vision had been an incomplete representation of real things, based on an incomplete set of laws, postulates and theorems. He believed the world was dynamic and changing in time, that it appeared different depending on the point of view of the observer, each of these viewpoints were equally valid according to underlying symmetries inherent in nature. Jean Metzinger came from a prominent military family and his great-grandfather, Nicolas Metzinger, Captain in the 1st Horse Artillery Regiment, and Chevalier of the Legion of Honour, had served under Napoleon Bonaparte. A street in the Sixième arrondissement of Nantes was named after Jeans grandfather, Jeans younger brother Maurice would become a musician, excelling as a cellist. By 1900 Jean was a student at Académie Cours Cambronne in Nantes, working under Hippolyte Touront, Metzinger, however, was interested in the current trends in painting. Metzinger sent three paintings to the Salon des Indépendants in 1903, and subsequently moved to Paris with the proceeds from their sale, from the age of 20, Metzinger supported himself as a professional painter. He would show four times at Weills gallery,17 January-1 February 1913, March 1913, June 1914. It is at Berthe Weills that he would meet Max Jacob for the first time, Berthe Weill was also the first Parisian art dealer to sell works of Picasso. Along with Picasso and Metzinger, she helped discover Matisse, Derain, Amedeo Modigliani, in 1904 Metzinger exhibited six paintings in the Divisionist style at the Salon des Indépendants and the Salon d’Automne
Jean Metzinger
–
Metzinger, before 1913
Jean Metzinger
–
Jean Metzinger, 1912,
Danseuse au café (Dancer in a café), oil on canvas, 146.1 x 114.3 cm, Albright-Knox Art Gallery, Buffalo, New York. Published in Au Salon d'Automne "Les Indépendants" 1912, Exhibited at the 1912 Salon d'Automne
Jean Metzinger
–
Jean Metzinger, c.1905,
Baigneuse, Deux nus dans un jardin exotique (Two Nudes in an Exotic Landscape), oil on canvas, 116 x 88.8 cm, Colección Carmen Thyssen-Bornemisza
Jean Metzinger
–
Jean Metzinger, ca. 1906,
Coucher de Soleil No. 1 (Landscape), oil on canvas, 72.5 x 100 cm,
Rijksmuseum Kröller-Müller, Otterlo, Netherlands
,_oil_on_canvas,_290_x_300_cm,_Mus%C3%A9e_National_d%E2%80%99Art_Moderne,_Centre_Georges_Pompidou,_Paris..jpg)
,_Dada_4-5,_Number_5,_15_May_1919.jpg)
,_oil_on_canvas,_50.3_%C3%97_61.5_cm,_private_collection.jpg)
,_oil_on_canvas,_300.4_x_300.7_cm,_Art_Institute_of_Chicago.jpg)
,_work_on_paper,_47.4_x_31.7_cm,_Mus%C3%A9e_d%27Orsay.jpg)
.jpg)
,_ink_on_paper,_31.8_x_23_cm,_Tate,_London.jpg)
,_ink_and_graphite_on_paper,_33_x_24_cm,_Mus%C3%A9e_National_d%27Art_Moderne,_Paris.jpg)
