1.
Louvre
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The Louvre or the Louvre Museum is the worlds largest museum and a historic monument in Paris, France. A central landmark of the city, it is located on the Right Bank of the Seine in the citys 1st arrondissement, approximately 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square metres. The Louvre is the second most visited museum after the Palace Museum in China. The museum is housed in the Louvre Palace, originally built as a fortress in the late 12th century under Philip II, remnants of the fortress are visible in the basement of the museum. Due to the expansion of the city, the fortress eventually lost its defensive function and. The building was extended many times to form the present Louvre Palace, in 1692, the building was occupied by the Académie des Inscriptions et Belles Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years, during the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nations masterpieces. The museum opened on 10 August 1793 with an exhibition of 537 paintings, because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under Napoleon and the museum renamed Musée Napoléon, the collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic, whether this was the first building on that spot is not known, it is possible that Philip modified an existing tower. According to the authoritative Grand Larousse encyclopédique, the name derives from an association with wolf hunting den, in the 7th century, St. Fare, an abbess in Meaux, left part of her Villa called Luvra situated in the region of Paris to a monastery. This territory probably did not correspond exactly to the modern site, the Louvre Palace was altered frequently throughout the Middle Ages. In the 14th century, Charles V converted the building into a residence and in 1546, Francis acquired what would become the nucleus of the Louvres holdings, his acquisitions including Leonardo da Vincis Mona Lisa. After Louis XIV chose Versailles as his residence in 1682, constructions slowed, however, on 14 October 1750, Louis XV agreed and sanctioned a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. Under Louis XVI, the museum idea became policy. The comte dAngiviller broadened the collection and in 1776 proposed conversion of the Grande Galerie of the Louvre – which contained maps – into the French Museum, many proposals were offered for the Louvres renovation into a museum, however, none was agreed on. Hence the museum remained incomplete until the French Revolution, during the French Revolution the Louvre was transformed into a public museum. In May 1791, the Assembly declared that the Louvre would be a place for bringing together monuments of all the sciences, on 10 August 1792, Louis XVI was imprisoned and the royal collection in the Louvre became national property
2.
Italian Rococo art
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Italian Rococo art refers to painting and the plastic arts in Italy during the Rococo period, which went from about the early/mid-18th to the late 18th century. Italian Rococo was mainly inspired by French Rococo, since France was the nation of that particular style. The styles of the Italian Rococo were very similar to those of France, the style in Italy was usually lighter and more feminine than Italian Baroque art, and became the more popular art form of the settecento. The leading artistic centres during the Rococo in Italy were Venice, Genoa, most Italian Rococo artists came from Venice, such as Canaletto, Tiepolo, Guardi, Piazzetta and Bellotto, but also from Rome and Genoa, such as Piranesi and Pannini. Artists such as Castiglione and Alessandro Magnasco brought the vogue of Rococo art to Genoa, Canaletto and Tiepolo were among the most prominent painters of the age, and they painted many frescos and cityscapes
3.
Genre art
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Genre art is the pictorial representation in any of various media of scenes or events from everyday life, such as markets, domestic settings, interiors, parties, inn scenes, and street scenes. Such representations may be realistic, imagined, or romanticized by the artist, some variations of the term genre art specify the medium or type of visual work, as in genre painting, genre prints, genre photographs, and so on. Rather confusingly, the meaning of genre, covering any particular combination of an artistic medium. Painting was divided into a hierarchy of genres, with painting at the top, as the most difficult and therefore prestigious. But history paintings are a genre in painting, not genre works, the following concentrates on painting, but genre motifs were also extremely popular in many forms of the decorative arts, especially from the Rococo of the early 18th century onwards. Single figures or small groups decorated a huge variety of such as porcelain, furniture, wallpaper. Genre painting, also called genre scene or petit genre, depicts aspects of life by portraying ordinary people engaged in common activities. A work would often be considered as a genre work even if it could be shown that the artist had used a known member of his family. In this case it would depend on whether the work was likely to have intended by the artist to be perceived as a portrait—sometimes a subjective question. The depictions can be realistic, imagined, or romanticized by the artist, because of their familiar and frequently sentimental subject matter, genre paintings have often proven popular with the bourgeoisie, or middle class. Genre themes appear in all art traditions. These were part of a pattern of Mannerist inversion in Antwerp painting, giving low elements previously in the background of images prominent emphasis. The generally small scale of these paintings was appropriate for their display in the homes of middle class purchasers. Often the subject of a painting was based on a popular emblem from an Emblem book. The merry company showed a group of figures at a party, other common types of scenes showed markets or fairs, village festivities, or soldiers in camp. In Italy, a school of painting was stimulated by the arrival in Rome of the Dutch painter Pieter van Laer in 1625. He acquired the nickname Il Bamboccio and his followers were called the Bamboccianti, whose works would inspire Giacomo Ceruti, Antonio Cifrondi, jean-Baptiste Greuze and others painted detailed and rather sentimental groups or individual portraits of peasants that were to be influential on 19th-century painting. Spain had a tradition predating The Book of Good Love of social observation and commentary based on the Old Roman Latin tradition, practiced by many of its painters and illuminators
4.
Venice
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Venice is a city in northeastern Italy and the capital of the Veneto region. It is situated across a group of 118 small islands that are separated by canals and these are located in the shallow Venetian Lagoon, an enclosed bay that lies between the mouths of the Po and the Piave Rivers. Parts of Venice are renowned for the beauty of their settings, their architecture, the lagoon and a part of the city are listed as a World Heritage Site. In 2014,264,579 people resided in Comune di Venezia, together with Padua and Treviso, the city is included in the Padua-Treviso-Venice Metropolitan Area, with a total population of 2.6 million. PATREVE is a metropolitan area without any degree of autonomy. The name is derived from the ancient Veneti people who inhabited the region by the 10th century BC, the city was historically the capital of the Republic of Venice. Venice has been known as the La Dominante, Serenissima, Queen of the Adriatic, City of Water, City of Masks, City of Bridges, The Floating City, and City of Canals. The City State of Venice is considered to have been the first real international financial center which gradually emerged from the 9th century to its peak in the 14th century and this made Venice a wealthy city throughout most of its history. It is also known for its several important artistic movements, especially the Renaissance period, Venice has played an important role in the history of symphonic and operatic music, and it is the birthplace of Antonio Vivaldi. Venice has been ranked the most beautiful city in the world as of 2016, the name Venetia, however, derives from the Roman name for the people known as the Veneti, and called by the Greeks Eneti. The meaning of the word is uncertain, although there are other Indo-European tribes with similar-sounding names, such as the Celtic Veneti, Baltic Veneti, and the Slavic Wends. Linguists suggest that the name is based on an Indo-European root *wen, so that *wenetoi would mean beloved, lovable, a connection with the Latin word venetus, meaning the color sea-blue, is also possible. The alternative obsolete form is Vinegia, some late Roman sources reveal the existence of fishermen on the islands in the original marshy lagoons. They were referred to as incolae lacunae, the traditional founding is identified with the dedication of the first church, that of San Giacomo on the islet of Rialto — said to have taken place at the stroke of noon on 25 March 421. Beginning as early as AD166 to 168, the Quadi and Marcomanni destroyed the center in the area. The Roman defences were again overthrown in the early 5th century by the Visigoths and, some 50 years later, New ports were built, including those at Malamocco and Torcello in the Venetian lagoon. The tribuni maiores, the earliest central standing governing committee of the islands in the Lagoon, the traditional first doge of Venice, Paolo Lucio Anafesto, was actually Exarch Paul, and his successor, Marcello Tegalliano, was Pauls magister militum. In 726 the soldiers and citizens of the Exarchate rose in a rebellion over the controversy at the urging of Pope Gregory II
5.
Antonio Molinari
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Antonio Molinari, also known as il Caraccino, was an Italian painter of the Baroque era in Venice. The son of a painter, Molinari was apprenticed to Antonio Zanchi in Venice and he was strongly influenced by the vigorous and athletic paintings of Neapolitan painters such as Luca Giordano. He typically painted tumultuous narratives of mythology and religion in large canvases and this would influence his pupil, Giovanni Battista Piazzetta, and his grand manner style. His works include, Feeding of the Five Thousand Darius and His Family Before Alexander Judith with the Head of Holofernes Death of Uzzah Fight of Centaurs and Lapiths
6.
Giuseppe Maria Crespi
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Giuseppe Maria Crespi, nicknamed Lo Spagnuolo, was an Italian late Baroque painter of the Bolognese School. His eclectic output includes paintings and portraits, but he is now most famous for his genre paintings. Crespi was born in Bologna to Girolamo Crespi and Isabella Cospi and his mother was a distant relation of the noble Cospi family, which had ties to the Florentine House of Medici. He was nicknamed the Spanish One because of his habit of wearing tight clothes characteristic of Spanish fashion of the time, by age 12 years, he apprenticed with Angelo Michele Toni. From the age of 15–18 years, he worked under the Bolognese Domenico Maria Canuti, the Roman painter Carlo Maratti, on a visit to Bologna, is said to have invited Crespi to work in Rome, but Crespi declined. From this time hence, Crespi worked independently of other artists and his main biographer, Giampietro Zanotti, said of Crespi, never again wanted for money, and he would make the stories and caprices that came into his imagination. Very often also he painted common things, representing the lowest occupations, thus it was for Crespi himself, as he began a career servicing wealthy patrons with artwork. He is said to have had a camera optica in his house for painting, by the 1690s he had completed various altarpieces, including a Temptation of Saint Anthony commissioned by Count Carlo Cesare Malvasia, now in San Niccolò degli Albari. He journeyed to Venice, but surprisingly, never to Rome and he had been forced to flee Bologna with the canvas, which while intended for the Duke, had been fancied by a local priest, Don Carlo Silva for himself. The events surrounding this episode became the source of litigation, in which Crespi, at least for the next five years. An eclectic artist, Crespi was a painter and a brilliant caricaturist. He could be said to have painted a number of masterpieces in different styles and he was not universally appreciated, Lanzi quotes Mengs as lamenting that the Bolognese school should close with the capricious Crespi. Lanzi himself describes Crespi as allowing his turn for novelty at length to lead his fine genius astray, One celebrated series of canvases, the Seven Sacraments, was painted around 1712, and now hangs in the Gemäldegalerie, Dresden. It was originally completed for Cardinal Pietro Ottoboni in Rome, and these imposing works are painted with a loose brushstroke, but still maintain a sober piety. Making no use of symbols such as saints and putti. Crespi is best known today as one of the proponents of baroque genre painting in Italy. Italians, until the 17th century, had little attention to such themes, concentrating mainly on grander images from religion, mythology. In this they differed from Northern Europeans, specifically Dutch painters, there were exceptions, the Bolognese Baroque titan of fresco, Annibale Carracci, had painted pastoral landscapes, and depictions of homely tradespeople such as butchers
7.
Carlo Cignani
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Carlo Cignani was an Italian painter. His innovative style referred to as his new manner introduced a reflective, intimate mood of painting and presaged the later pictures of Guido Reni and Guercino and this gentle manner marked a break with the more energetic style of earlier Bolognese classicism of the Bolognese School of painting. He was born to a family of noble ancestry, but limited resources and his fathers first name was Pompeo, and his mother, Maddalena Quaini. In Bologna, he studied first under Battista Cairo and later under Francesco Albani, to whom he remained closely allied and his first noted commission was a St Paul exorcising demon for the church of the Gesu in Bologna. He was also influenced by the genius of Correggio and by the masterworks by Melozzo da Forlì. These frescoes occupied Cignani for some twenty years, in 1681 Cignani returned to Bologna from Parma. He opened an accademia del nudo for painting from models and had as one of his pupils Giuseppe Maria Crespi and he had some of the defects of his masters, his elaborate finish and his audacious artificiality in the use of color and in composition mark Albanis influence. Despite that, he imparted to his work more of a character than his mentors. As a man Cignani was eminently amiable, unassuming and generous and he accepted no honors offered him by the duke of Parma, but lived and died an artist. In 1686 he moved to Forlì, where he died, when the Accademia Clementina for Bolognese artists was founded in 1706, Cignani was posthumously elected Principe in absencia for life. His son Felice Cignani and nephew Paolo Cignani were also painters and his most noted pupils were Marcantonio Franceschini and Federico Bencovich. and Sante Vandi. Media related to Carlo Cignani at Wikimedia Commons This article incorporates text from a now in the public domain, Chisholm, Hugh, ed. Cignani. Spike, John T. Centro Di, ed. Giuseppe Maria Crespi, fort Worth, Kimball Museum of Art. Vita del Gran Pittore Cavalier Carlo Cignani, Bologna, Nella Stamperia di L. dalla Volpe
8.
Chiaroscuro
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Chiaroscuro is an oil painting technique, developed during the Renaissance, that uses strong tonal contrasts between light and dark to model three-dimensional forms, often to dramatic effect. The underlying principle is that solidity of form is best achieved by the light falling against it, artists known for developing the technique include Leonardo da Vinci, Caravaggio, and Rembrandt. It is a mainstay of black and white photography and these in turn drew on traditions in illuminated manuscripts going back to late Roman Imperial manuscripts on purple-dyed vellum. Such works used to be called chiaroscuro drawings, but are often described in modern museum terminology by such formulae as pen on prepared paper. Chiaroscuro woodcuts began as imitations of this technique, when discussing Italian art, the term sometimes is used to mean painted images in monochrome or two colours, more generally known in English by the French equivalent, grisaille. The term broadened in meaning early on to cover all strong contrasts in illumination between light and dark areas in art, which is now the primary meaning. The invention of these effects in the West, skiagraphia or shadow-painting to the Ancient Greeks, traditionally was ascribed to the famous Athenian painter of the fifth century BC, Apollodoros. Chose her place to sit for that purpose in the alley of a goodly garden. In drawings and prints, modelling chiaroscuro often is achieved by the use of hatching, washes, stipple or dotting effects, and surface tone in printmaking are other techniques. Chiaroscuro woodcuts are old master prints in woodcut using two or more blocks printed in different colours, they do not necessarily feature strong contrasts of light and they were first produced to achieve similar effects to chiaroscuro drawings. Other printmakers to use the technique include Hans Wechtlin, Hans Baldung Grien, in Germany the technique achieved its greatest popularity around 1520, but it was used in Italy throughout the sixteenth century. Later artists such as Goltzius sometimes made use of it, in most German two-block prints, the keyblock was printed in black and the tone block or blocks had flat areas of colour. In Italy, chiaroscuro woodcuts were produced without keyblocks to achieve a different effect. Manuscript illumination was, as in areas, especially experimental in attempting ambitious lighting effects since the results were not for public display. The development of compositional chiaroscuro received an impetus in northern Europe from the vision of the Nativity of Jesus of Saint Bridget of Sweden. Hugo van der Goes and his followers painted many scenes lit only by candle or the light from the infant Christ. As with some later painters, in their hands the effect was of stillness, strong chiaroscuro became a popular effect during the sixteenth century in Mannerism and Baroque art. Divine light continued to illuminate, often rather inadequately, the compositions of Tintoretto, Veronese, tenebrism was especially practiced in Spain and the Spanish-ruled Kingdom of Naples, by Jusepe de Ribera and his followers
9.
Caravaggio
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Michelangelo Merisi da Caravaggio was an Italian painter active in Rome, Naples, Malta, and Sicily between 1592 and 1610. His paintings, which combine a realistic observation of the human state, in scarcely a year or so’s sojourn in Naples, he rapidly established himself once more as the most prominent painter, exploiting high-ranking connections. It was not long before these connections gave him an opening to travel on in 1607 to Malta, governed by the Order of Knights Hospitallers, Caravaggio probably hoped that the Knights would provide a channel whereby he could obtain a pardon from the Papacy. Once more his talents made an instant impression, along with the support of noble patrons and his hopes dashed, he contrived to escape and flee once, which before the end of 1608 led to his cancellation from the rolls of the Order. He made for Syracuse in Sicily, where he was received as a guest by a friend from his Roman days, the painter’s face was disfigured and rumours started to circulate of his death. Various commentators have formulated opinions about his state from works supposedly executed at this period. In fact, Caravaggio’s end is shrouded in mystery, mystery that is rendered only denser by conflicting hypotheses, some speak of a natural death from a persistent fever, others of an assassination by emissaries of the Knights of Malta. The loss of the paintings put the deal and his future in doubt, there is evidence that dogged by a serious fever, he was tended by a local religious confraternity near Porto Ercole, then in the Grand Duchy of Tuscany, but succumbed. His death was certified by them as taking place on 18 July 1610, if the story to this point is exact, it is likely he was buried in a paupers’ common grave. As to the place, though this continues to be contested. Famous while he lived, Caravaggio was forgotten almost immediately after his death, despite this, his influence on the new Baroque style that eventually emerged from the ruins of Mannerism was profound. The 20th-century art historian André Berne-Joffroy claimed, What begins in the work of Caravaggio is, quite simply, modern painting. Caravaggio was born in Milan where his father, Fermo, was an administrator and architect-decorator to the Marchese of Caravaggio. His mother, Lucia Aratori, came from a family of the same district. In 1576 the family moved to Caravaggio to escape a plague which ravaged Milan, Caravaggios mother died in 1584, the same year he began his four-year apprenticeship to the Milanese painter Simone Peterzano, described in the contract of apprenticeship as a pupil of Titian. Following his initial training under Simone Peterzano, in 1592 Caravaggio left Milan for Rome, in flight after certain quarrels, in Rome, where there was a demand for paintings to fill the many huge new churches and palazzos being built at the time. It was also a period when the Church was searching for an alternative to Mannerism in religious art that was tasked to counter the threat of Protestantism. Caravaggios innovation was a radical naturalism that combined close observation with a dramatic, even theatrical
10.
Guercino
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Giovanni Francesco Barbieri, best known as Guercino, or Il Guercino, was an Italian Baroque painter and draftsman from the region of Emilia, and active in Rome and Bologna. The vigorous naturalism of his manner is in contrast to the classical equilibrium of his later works. His many drawings are noted for their luminosity and lively style and he was born in Cento, a village between Bologna and Ferrara. At an early age he acquired the nickname Guercino because he was cross-eyed, mainly self-taught, at the age of 16, he worked as apprentice in the shop of Benedetto Gennari, a painter of the Bolognese School. By 1615, he moved to Bologna, where his work was praised by Ludovico Carracci, Guercino painted two large canvases, Elijah Fed by Ravens and Samson Seized by Philistines, for Cardinal Serra, a Papal Legate to Ferrara. These paintings have a stark naturalist Caravaggesque style, although it is unlikely that Guercino saw any of the Roman Caravaggios first-hand, the Arcadian Shepherds was painted in 1618 at the same time of The Flaying of Marsyas by Apollo in Palazzo Pitti. Its dramatic composition is typical of Guercinos early works, which are often tumultuous and he often claimed that his early style was influenced by a canvas of Ludovico Carracci that he saw in the Capuchin church in Cento. Some of his works are closer to the style of his contemporary Guido Reni. He was recommended by Marchese Enzo Bentivoglio to the Bolognese Ludovisi Pope, Pope Gregory XV, the years he spent in Rome, 1621–23, were very productive. Petronilla Altarpiece for the Vatican, which is considered his masterpiece, after the death of Gregory XV, Guercino returned to his hometown. In 1626, he began his frescoes in the Duomo of Piacenza, between 1618 and 1631, Giovanni Battista Pasqualini produced 67 engravings that document the early production of Guercino, which is not included in the Libro dei Conti. In 1642, following the death of Guido Reni, Guercino moved his workshop to Bologna. In 1655, the Franciscan Order of Reggio paid him 300 ducats for the altarpiece of Saint Luke Displaying a Painting of the Madonna, the Corsini also paid him 300 ducats for the Flagellation of Christ painted in 1657. Guercino was remarkable for the rapidity of his executions, he completed no fewer than 106 large altarpieces for churches. He was also a prolific draftsman and his production includes many drawings, usually in ink, washed ink, or red chalk. Most of them were made as preparatory studies for his paintings, but he also drew landscapes, genre subjects, Guercinos drawings are known for their fluent style in which rapid, calligraphic pen strokes combined with dots, dashes, and parallel hatching lines describe the forms. Guercino continued to paint and teach until his death in 1666, as he never married, his estate passed to his nephews and pupils, Benedetto Gennari II and Cesare Gennari. Benedetto Zallone of Cento, and Matteo Loves, masterpieces of Cento, Rome and Polish collections, displayed at the National Museum in Warsaw from September 2013 to February 2014
11.
Baroque
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The style began around 1600 in Rome and Italy, and spread to most of Europe. The aristocracy viewed the dramatic style of Baroque art and architecture as a means of impressing visitors by projecting triumph, power, Baroque palaces are built around an entrance of courts, grand staircases, and reception rooms of sequentially increasing opulence. However, baroque has a resonance and application that extend beyond a reduction to either a style or period. It is also yields the Italian barocco and modern Spanish barroco, German Barock, Dutch Barok, others derive it from the mnemonic term Baroco, a supposedly laboured form of syllogism in logical Scholastica. The Latin root can be found in bis-roca, in informal usage, the word baroque can simply mean that something is elaborate, with many details, without reference to the Baroque styles of the 17th and 18th centuries. The word Baroque, like most periodic or stylistic designations, was invented by later critics rather than practitioners of the arts in the 17th, the term Baroque was initially used in a derogatory sense, to underline the excesses of its emphasis. In particular, the term was used to describe its eccentric redundancy and noisy abundance of details, although it was long thought that the word as a critical term was first applied to architecture, in fact it appears earlier in reference to music. Another hypothesis says that the word comes from precursors of the style, Giacomo Barozzi da Vignola and he did not make the distinctions between Mannerism and Baroque that modern writers do, and he ignored the later phase, the academic Baroque that lasted into the 18th century. Long despised, Baroque art and architecture became fashionable between the two World Wars, and has remained in critical favour. In painting the gradual rise in popular esteem of Caravaggio has been the best barometer of modern taste, William Watson describes a late phase of Shang-dynasty Chinese ritual bronzes of the 11th century BC as baroque. The term Baroque may still be used, usually pejoratively, describing works of art, craft, the appeal of Baroque style turned consciously from the witty, intellectual qualities of 16th-century Mannerist art to a visceral appeal aimed at the senses. It employed an iconography that was direct, simple, obvious, germinal ideas of the Baroque can also be found in the work of Michelangelo. Even more generalised parallels perceived by some experts in philosophy, prose style, see the Neapolitan palace of Caserta, a Baroque palace whose construction began in 1752. In paintings Baroque gestures are broader than Mannerist gestures, less ambiguous, less arcane and mysterious, more like the stage gestures of opera, Baroque poses depend on contrapposto, the tension within the figures that move the planes of shoulders and hips in counterdirections. Baroque is a style of unity imposed upon rich, heavy detail, Baroque style featured exaggerated lighting, intense emotions, release from restraint, and even a kind of artistic sensationalism. There were highly diverse strands of Italian baroque painting, from Caravaggio to Cortona, the most prominent Spanish painter of the Baroque was Diego Velázquez. The later Baroque style gradually gave way to a more decorative Rococo, while the Baroque nature of Rembrandts art is clear, the label is less often used for Vermeer and many other Dutch artists. Flemish Baroque painting shared a part in this trend, while continuing to produce the traditional categories
12.
Rococo
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Rococo artists and architects used a more jocular, florid, and graceful approach to the Baroque. Their style was ornate and used light colours, asymmetrical designs, curves, unlike the political Baroque, the Rococo had playful and witty themes. By the end of the 18th century, Rococo was largely replaced by the Neoclassic style. In 1835 the Dictionary of the French Academy stated that the word Rococo usually covers the kind of ornament, style and design associated with Louis XVs reign and it includes therefore, all types of art from around the middle of the 18th century in France. The word is seen as a combination of the French rocaille and coquilles, the term may also be a combination of the Italian word barocco and the French rocaille and may describe the refined and fanciful style that became fashionable in parts of Europe in the 18th century. The Rococo love of shell-like curves and focus on decorative arts led some critics to say that the style was frivolous or merely modish, when the term was first used in English in about 1836, it was a colloquialism meaning old-fashioned. While there is some debate about the historical significance of the style to art in general. Italian architects of the late Baroque/early Rococo were wooed to Catholic Germany, Bohemia and Austria by local princes, an exotic but in some ways more formal type of Rococo appeared in France where Louis XIVs succession brought a change in the court artists and general artistic fashion. By the end of the long reign, rich Baroque designs were giving way to lighter elements with more curves. These elements are obvious in the designs of Nicolas Pineau. During the Régence, court life moved away from Versailles and this change became well established, first in the royal palace. The delicacy and playfulness of Rococo designs is seen as perfectly in tune with the excesses of Louis XVs reign. The 1730s represented the height of Rococo development in France, the style had spread beyond architecture and furniture to painting and sculpture, exemplified by the works of Antoine Watteau and François Boucher. The Rococo style was spread by French artists and engraved publications, william Hogarth helped develop a theoretical foundation for Rococo beauty. Though not intentionally referencing the movement, he argued in his Analysis of Beauty that the lines and S-curves prominent in Rococo were the basis for grace. The development of Rococo in Great Britain is considered to have connected with the revival of interest in Gothic architecture early in the 18th century. The beginning of the end for Rococo came in the early 1760s as figures like Voltaire and Jacques-François Blondel began to voice their criticism of the superficiality, Blondel decried the ridiculous jumble of shells, dragons, reeds, palm-trees and plants in contemporary interiors. By 1785, Rococo had passed out of fashion in France, replaced by the order, in Germany, late 18th century Rococo was ridiculed as Zopf und Perücke, and this phase is sometimes referred to as Zopfstil
13.
Sebastiano Ricci
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Sebastiano Ricci was an Italian painter of the late Baroque school of Venice. About the same age as Piazzetta, and a contemporary of Tiepolo. He was born in Belluno, the son of Andreana and Livio Ricci, in 1671, he was apprenticed to Federico Cervelli of Venice. Others claim Ricci’s first master was Sebastiano Mazzoni, in 1678, a youthful indiscretion led to an unwanted pregnancy, and ultimately to a greater scandal, when Ricci was accused of attempting to poison the young woman in question to avoid marriage. He was imprisoned, and released only after the intervention of a nobleman and he married the pregnant mother in 1691, although this was a stormy union. Following his release he moved to Bologna, where he lived near the Parish of San Michele del Mercato and his painting style there was apparently influenced by Giovanni Gioseffo dal Sole. On 28 September 1682 he was contracted by the Fraternity of Saint John of Florence to paint a Decapitation of John the Baptist for their oratory, in 1686, the Duke Ranuccio II Farnese of Parma commissioned s Pietà for a new Capuchin convent. In 1687-8 Ricci decorated the apartments of the Parmense Duchess in Piacenza with canvases recounting the life of the Farnese pope, apparently in 1688, Ricci abandoned his wife and daughter, and fled from Bologna to Turin with Magdalen, the daughter of the painter Giovanni Peruzzini. He was again imprisoned, and nearly executed, but was freed by the intercession of the Duke of Parma. The duke employed him and assigned him a salary of 25 crowns. In 1692, he was commissioned to copy the Coronation of Charlemagne by Raphael in Vatican City, on behalf of Louis XIV, on 22 June 1697, the Count Giacomo Durini hired him to paint in the Cathedral of Monza. In 1698, he returned to the Venetian republic for a decade, by 24 August 1700, he had frescoed the chapel of the Santissimo Sacramento in the church of Santa Giustina of Padua. In 1701, the Venetian geographer Vincenzo Maria Coronelli commissioned a canvas of the Ascension that was inserted into the ceiling of sacristy of the Basilica of the Santi Apostoli in Rome. In Venice in 1704 he executed a canvas of San Procolo for the Dome of Bergamo, in the summer of 1706, he traveled to Florence, where he completed a work that is by many considered his masterpieces. During his Florentine stay he first completed a fresco series on allegorical and mythological themes for the now-called Marucelli-Fenzi or Palazzo Fenzi. These works gained him fame and requests from foreign lands and showed the influence of Venetian painting into other regions of Italy. He was to influence the Florentine Rococo fresco painter Giovanni Domenico Ferretti, in 1708 he returned to Venice, completing a Madonna with the Child for San Giorgio Maggiore. In 1711, now painting alongside his nephew, Marco Ricci and he decorated the chapel at Bulstrode House near Gerrards Cross for Henry Bentinck, 1st Duke of Portland with a cycle of wall-paintings depicting scenes from the life of Christ
14.
Giovanni Battista Tiepolo
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Giovanni Battista Tiepolo, also known as Gianbattista or Giambattista Tiepolo, was an Italian painter and printmaker from the Republic of Venice. He was prolific, and worked not only in Italy, but also in Germany, Giovan Battista Tiepolo, together with Giambattista Pittoni, Canaletto, Giovan Battista Piazzetta, Giuseppe Maria Crespi and Francesco Guardi forms the traditional great Old Masters of that period. Successful from the beginning of his career, he has described by Michael Levey as the greatest decorative painter of eighteenth-century Europe. Born in Venice, he was the youngest of six children of Domenico and his father was a small shipping merchant who belonged to a family that bore the prestigious patrician name of Tiepolo without claiming any noble descent. Some of the children acquired noble godparents, and Giambattista was originally named after his godfather and he was baptised on 16 April 1696 in the local church, San Pietro di Castello. His father died about a later, leaving his mother to bring up a family of young children. In 1710 he became a pupil of Gregorio Lazzarini, a painter with an eclectic style. A biography of his teacher, published in 1732, says that Tiepolo departed from studied manner of painting and his earliest known works are depictions of the apostles, painted in spandrels as part of the decoration of the church of the Ospedoletto in Venice in 1715–6. He painted his first fresco in 1716, on the ceiling of a church at Biadene and he probably left Lazzarinis studio in 1717, the year he was received into the Fraglia or guild of painters. In around 1719–20 he painted a scheme of frescoes for the wealthy, Tiepolo depicted the Triumph of Aurora on the ceiling, and the Myth of Phaethon on the walls, creating the kind of fluid spatial illusion which was to become a recurring theme in his work. In 1722 he was one of twelve artists commissioned to contribute a painting on canvas of one of the apostles as part of a scheme for the nave of San Stae in Venice. The other artists involved included Ricci, Piazetta, and Pellegrini, in 1719, Tiepolo married noblewoman Maria Cecilia Guardi, sister of two contemporary Venetian painters Francesco and Giovanni Antonio Guardi. Together, Tiepolo and his wife had nine children, four daughters and three sons survived childhood. Two of his sons, Domenico and Lorenzo, painted with him as his assistants and his children painted figures with a design similar to that of their father, but with distinctive, including genre, styles. His third son became a priest, fabio Canal, Francesco Lorenzi, Domenico Pasquini were among his pupils. Some major commissions came from the patrician Dolfin family, Tiepolo used a much cooler palette than previous Venetian painters, in order to create a convincing effect of daylight. These early masterpieces, innovative amongst Venetian frescoes for their luminosity, dominic Instituting the Rosary, Palazzo Clerici, Milan, decorations for Villa Cordellini at Montecchio Maggiore and for the ballroom of the Palazzo Labia in Venice, showing the Story of Cleopatra. Tiepolo produced two sets of etchings, the Capricci and the Scherzi di fantasia, the ten capricci were first published by Anton Maria Zanetti, incorporated into the third edition of a compilation of woodcuts after Parmigiano
15.
Gallerie dell'Accademia
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The Gallerie dellAccademia is a museum gallery of pre-19th-century art in Venice, northern Italy. It is housed in the Scuola della Carità on the bank of the Grand Canal. The two institutions remained in the building until 2004, when the art school moved to the Ospedale degli Incurabili. The Accademia di Belle Arti di Venezia was founded on 24 September 1750, the first director was Giovanni Battista Piazzetta, Gianbattista Tiepolo became the first president after his return from Würzburg. It was one of the first institutions to study art restoration starting in 1777 with Pietro Edwards, in 1807 the academy was re-founded by Napoleonic decree. The collections of the Accademia were first opened to the public on 10 August 1817, the Gallerie dellAccademia became independent from the Accademia di Belle Arti di Venezia in 1879. Like other state museums in Italy, it falls under the Ministero per i Beni e le Attività Culturali, the Napoleonic administration had disbanded many institutions in Venice including some churches, convents and Scuole. The Scuola della Carità, the Convento dei Canonici Lateranensi and the church of Santa Maria della Carità thus became the home of the Accademia. The Scuola della Carità was the oldest of the six Scuole Grandi, the Convento dei Canonici Lateranensi was started in 1561 by Andrea Palladio, though it was never fully completed. The facade of Santa Maria della Carità was completed in 1441 by Bartolomeo Bon, the Gallerie dell’Accademia contains masterpieces of Venetian painting up to the 18th century, generally arranged chronologically though some thematic displays are evident. Media related to Gallerie dellAccademia at Wikimedia Commons
16.
Illusionistic ceiling painting
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Italian terminology for this technique reflects the latter artists influence and is called prospettiva melozziana, or Melozzos perspective. Another notable use is by Antonio da Correggio in the Duomo of Parma, the technique often uses foreshortened figures and an architectural vanishing point to create the perception of true space on a painted, most-often frescoed, ceiling above the viewer. Quadratura, a term which was introduced in the century and is also normally used in English. Although it can refer to the opening up of walls through architectural illusion. Due to its reliance on perspective theory, it more fully unites architecture, painting and sculpture, the artist would paint a feigned architecture in perspective on a flat or barrel-vaulted ceiling in such a way that it seems to continue the existing architecture. The perspective of this illusion is centered towards one focal point, the steep foreshortening of the figures, the painted walls and pillars, creates an illusion of deep recession, heavenly sphere or even an open sky. Paintings on ceilings could, for example, simulate statues in niches or openings revealing the sky, Quadratura may also employ other illusionistic painting techniques, such as anamorphosis. Examples of illusionistic painting include, Andrea Pozzo at San Ignazio in Rome and he wrote the standard theoretical work of his artistic ideas in the two volumes of, Perspectiva pictorum et architectorum Andreae Putei a societate Jesu. Pietro da Cortona at the Palazzo Barberini, Gianbattista Tiepolo in the Ca Rezzonico in Venice, Villa Pisani at Stra, other examples were by Paolo Veronese at Villa Rotonda in Vicenza and Baldassare Peruzzi in the Villa Farnesina of Rome. His masterpiece was a series of frescoes that culminated in 1474 in the Camera degli Sposi of the Ducal Palace, in these works, he carried the art of illusionistic perspective to new limits. This was the prototype of illusionistic ceiling painting that was to become an important element of Italian baroque, in a visual continuity between the architectural interior and its painted surfaces, Corregios clouds and figures appear to inhabit the same architectural space in which the spectator stands. Lanfrancos work in Rome and in Naples was fundamental to the development of illusionism in Italy, Pietro Berrettini, called Pietro da Cortona, developed the illusionistic ceiling fresco to an extraordinary degree in works such as the ceiling of the gran salone of Palazzo Barberini. From 1676 to 1679 Giovanni Battista Gaulli, called Baciccio, painted an Adoration of the Name of Jesus on the ceiling of the Church of the Gesù, the Jesuit headquarters in Rome. From 1691 to 1694 Andrea Pozzo painted the Entrance of Saint Ignatius into Paradise on the vault of SantIgnazio, Rome, with theatricality. The Loves of the Gods Johann Paul Schor Allegory of Divine Providence and Barberini Power Paul Troger, sjöström, Quadratura, studies in Italian ceiling painting, Stockholm,1978. Quadratura, Geschichte, Theorie, Technik, ed. Pascal Dubourg Glatigny and Matthias Bleyl, trevor Hunt, From Mantegna to Michelangelo, illusionistic ceiling paintings of the Renaissance pave the way for Baroque excess RomeArtLover, Baroque ceilings
17.
Saint Dominic
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Saint Dominic, also known as Dominic of Osma and Dominic of Caleruega, often called Dominic de Guzmán and Domingo Félix de Guzmán, was a Castilian priest and founder of the Dominican Order. Dominic is the saint of astronomers. Dominic was born in Caleruega, halfway between Osma and Aranda de Duero in Old Castile, Spain and he was named after Saint Dominic of Silos, who is said to be the patron saint of hopeful mothers. The Benedictine abbey of Santo Domingo de Silos lies a few north of Caleruega. In the earliest narrative source, by Jordan of Saxony, Dominics parents are named Felix Guzman and Juanna of Aza. This story drew resonance from the fact that his order became known, after his name, as the Dominican order, Dominicanus in Latin which a play on words interpreted as Domini canis, Dog of the Lord. Jordan adds that Dominic was brought up by his parents and an uncle who was an archbishop. The failure to name his parents is not unusual, since Jordan wrote a history of the Orders early years, a later source, still of the 13th century, also gives their names as Juana and Felix. Nearly a century after Dominics birth, a local author asserted that Dominics father was vir venerabilis et dives in populo suo. The travel narrative of Pero Tafur, written circa 1439, states that Dominics father belonged to the family de Guzmán, Dominics mother, Jane of Aza, was beatified by Pope Leo XII in 1828. Dominic was educated in the schools of Palencia where he devoted six years to the arts, in 1191, when Spain was desolated by famine, young Dominic gave away his money and sold his clothes, furniture and even precious manuscripts to feed the hungry. Dominic reportedly told his fellow students, Would you have me study off these dead skins. In 1194, around age twenty-five, Dominic joined the Canons Regular in the canonry in the Cathedral of Osma, following the rule of Saint Augustine. In 1203 or 1204 he accompanied Diego de Acebo, the Bishop of Osma, on a mission for Alfonso VIII, King of Castile. The envoys traveled to Denmark via Aragon and the south of France, the marriage negotiations ended successfully, but the princess died before leaving for Castile. However, even Dominic managed only a few converts among the Cathari, in 1215, Dominic established himself, with six followers, in a house given by Peter Seila, a rich resident of Toulouse. He subjected himself and his companions to the rules of prayer and penance. In the same year, the year of the Fourth Lateran Council, Dominic and Foulques went to Rome to secure the approval of the Pope, Innocent III
18.
Santi Giovanni e Paolo, Venice
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The Basilica di San Giovanni e Paolo, known in Venetian as San Zanipolo, is a church in the Castello sestiere of Venice, Italy. One of the largest churches in the city, it has the status of a minor basilica, after the 15th century the funeral services of all of Venices doges were held here, and twenty-five doges are buried in the church. The huge brick edifice was designed in the Italian Gothic style and it is the principal Dominican church of Venice, and as such was built to hold large congregations. In 1246, Doge Jacopo Tiepolo donated some swampland to the Dominicans after dreaming of a flock of white doves flying over it, the first church was demolished in 1333, when the current church was begun. It was not completed until 1430, San Giovanni e Paolo is a parish church of the Vicariate of San Marco-Castello. Other churches of the parish are San Lazzaro dei Mendicanti, the Ospedaletto, the Renaissance Equestrian Statue of Bartolomeo Colleoni, by Andrea del Verrocchio, is located next to the church. The belltower has 3 bells in D major, the famous The Feast in the House of Levi, painted for the refectory, is now in the Accademia Gallery. After the 15th century the funeral services of all of Venices doges were held in San Giovanni e Paolo
19.
Charcoal
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Charcoal is a lightweight, black residue, consisting of carbon and any remaining ash, obtained by removing water and other volatile constituents from animal and vegetation substances. Charcoal is usually produced by slow pyrolysis- the heating of wood or other substances in the absence of oxygen, the whole pile is covered with turf or moistened clay. The firing is begun at the bottom of the flue, the success of the operation depends upon the rate of the combustion. The operation is so delicate that it was left to colliers. They often lived alone in small huts in order to tend their wood piles, for example, in the Harz Mountains of Germany, charcoal burners lived in conical huts called Köten which are still much in evidence today. The massive production of charcoal was a cause of deforestation. The increasing scarcity of easily harvested wood was a factor behind the switch to fossil fuel equivalents, mainly coal. Charcoal made at 300 °C is brown, soft and friable, and readily inflames at 380 °C, made at higher temperatures it is hard and brittle, in Finland and Scandinavia, the charcoal was considered the by-product of wood tar production. The best tar came from pine, thus pinewoods were cut down for tar pyrolysis, the residual charcoal was widely used as substitute for metallurgical coke in blast furnaces for smelting. Tar production led to deforestation, it has been estimated all Finnish forests are younger than 300 years. The end of tar production at the end of the 19th century resulted in rapid re-forestation, the charcoal briquette was first invented and patented by Ellsworth B. A. Zwoyer of Pennsylvania in 1897 and was produced by the Zwoyer Fuel Company. The process was popularized by Henry Ford, who used wood. Ford Charcoal went on to become the Kingsford Company, Charcoal has been made by various methods. The traditional method in Britain used a clamp and this is essentially a pile of wooden logs leaning against a chimney. The chimney consists of 4 wooden stakes held up by some rope, the logs are completely covered with soil and straw allowing no air to enter. It must be lit by introducing some burning fuel into the chimney, if the soil covering gets torn by the fire, additional soil is placed on the cracks. Once the burn is complete, the chimney is plugged to prevent air from entering, the true art of this production method is in managing the sufficient generation of heat, and its transfer to wood parts in the process of being carbonised. A strong disadvantage of this method is the huge amount of emissions that are harmful to human health
20.
Engraving
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Engraving is the practice of incising a design onto a hard, usually flat surface by cutting grooves into it. Wood engraving is a form of printing and is not covered in this article. Engraving was an important method of producing images on paper in artistic printmaking, in mapmaking. Other terms often used for printed engravings are copper engraving, copper-plate engraving or line engraving, hand engraving is a term sometimes used for engraving objects other than printing plates, to inscribe or decorate jewellery, firearms, trophies, knives and other fine metal goods. Traditional engravings in printmaking are also engraved, using just the same techniques to make the lines in the plate. Each graver is different and has its own use, engravers use a hardened steel tool called a burin, or graver, to cut the design into the surface, most traditionally a copper plate. Modern professional engravers can engrave with a resolution of up to 40 lines per mm in high grade work creating game scenes, dies used in mass production of molded parts are sometimes hand engraved to add special touches or certain information such as part numbers. In addition to engraving, there are engraving machines that require less human finesse and are not directly controlled by hand. They are usually used for lettering, using a pantographic system, there are versions for the insides of rings and also the outsides of larger pieces. Such machines are used for inscriptions on rings, lockets. Gravers come in a variety of shapes and sizes that yield different line types, the burin produces a unique and recognizable quality of line that is characterized by its steady, deliberate appearance and clean edges. The angle tint tool has a curved tip that is commonly used in printmaking. Florentine liners are flat-bottomed tools with multiple lines incised into them, ring gravers are made with particular shapes that are used by jewelry engravers in order to cut inscriptions inside rings. Flat gravers are used for work on letters, as well as wriggle cuts on most musical instrument engraving work, remove background. Knife gravers are for line engraving and very deep cuts, round gravers, and flat gravers with a radius, are commonly used on silver to create bright cuts, as well as other hard-to-cut metals such as nickel and steel. Square or V-point gravers are typically square or elongated diamond-shaped and used for cutting straight lines, V-point can be anywhere from 60 to 130 degrees, depending on purpose and effect. These gravers have very small cutting points, other tools such as mezzotint rockers, roulets and burnishers are used for texturing effects. Burnishing tools can also be used for stone setting techniques
21.
Accademia di Belle Arti di Venezia
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The Accademia di Belle Arti di Venezia is a public tertiary academy of art in Venice, Italy. The Accademia di Belle Arti di Venezia was founded on 24 September 1750, the first director was Giovanni Battista Piazzetta, Gianbattista Tiepolo became the first president after his return from Würzburg. The academy was at first housed in a room on the floor of the Fonteghetto della Farina. The space was insufficient, and students and teachers had to contend with the noise and dust of the market, antonio Canova studied at the academy in the 1770s. In 1807, the academy was re-founded by Napoleonic decree
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Domenico Maggiotto
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Domenico Maggiotto or Domenico Fedeli was an Italian painter and engraver of the late-Baroque period. He was one of the pupils of Giovanni Battista Piazzetta. His son Francesco Maggiotto was also a painter and he lived and worked mainly in Venice. Italian Paintings, Venetian School, a catalog containing information about Maggiotto
23.
Francesco Capella
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Francesco Capella, called Il Capella and Francesco Dagiu, was a scholar of Giovanni Battista Piazzetta. He was born in Venice, Italy and he painted history, and was chiefly employed for the churches at Bergamo, and by the state. One of his best pictures is St. George and the Dragon, in the church of San Bonate
24.
Johann Heinrich Tischbein
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His work consisted primarily of portraits of the nobility, mythological scenes, and historical paintings. For his mythology paintings his models were mostly members of the upper nobility and his father was Johann Tischbein, a baker, five of whose eight children became painters. From 1736 to 1741, he studied painting and, later, oil painting with Johann Georg von Freese. In 1743, thanks to the sponsorship of Count Johann Philipp von Stadion, he was able to go to Paris, in 1749, he travelled to Venice to study with Giovanni Battista Piazzetta, then spent a year in Rome. In 1753, he was appointed painter to William VIII. In addition to portraits, this included decorations at Schloss Wilhelmsthal, during the Seven Years War, he fled from the advancing French Army and lived in several locations until the occupation ended in 1762. When he returned, he was appointed a Professor at the new Collegium Carolinum in Kassel, when he was not teaching, he spent his time at Schloss Warthausen near Biberach an der Riß, an estate owned by his old patron, Stadion. Because of his friendship with Friedrich Gottlieb Klopstock, he spent some time in Hamburg. He was married twice, in 1756 and 1763, and had two daughters, both by his first wife, resurrection, altarpiece for the St. Michaelis Church, Hamburg, burned in 1906 Transfiguration, Lutherische Kirche in Kassel Passion and Ascension cycle for the St
25.
Giulia Lama
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Giulia Lama was an Italian painter, active in Venice. Her dark, tense style contrasted with the dominent pastel colors of the late Baroque era, Lama was born c.1681 in the parish of Santa Maria Formosa in Venice. She was trained initially by her father, the painter Agostino Lama and she then studied alongside a childhood friend, Giambattista Piazzetta, the prominent rococo painter of various religious subjects and genre paintings. Though here was debate as to whether she was a student of Giovanni Battista Piazzetta or a student who painted alongside Piazzetta at the Scuola di Antonio Molinari in Venice, however, records show that they were fellow painters, not teacher and student. As a result of learning together their styles are similar in the contrasts of light. They were known to be friends, Piazzetta even painted a portrait of his friend in c. 1715–20. Lama was well known for her appearance, even Lama herself was well aware of this. A letter written by the Abbé Conti to Madame de Caylus in March 1728 has been important in determining Lamas background. She remarks, The poor woman is persecuted by painted, and it is true she is as ugly as she is intelligent, but she speaks with grace and polish, so that one easily pardons her face. She lives, however, a very retired life. It also reveals that in addition to being a painter she was gifted in mathematics, a wonderfully skilled poet, a lace maker. It also brings to light the opposition of male artists to the career of a woman and the prejudices regarding physical beauty, Lama was active as a historical painter and poet in Venice from till after 1753. One of her pieces, a Crucifixion altarpiece remain in situ at San Vitale and she had a successful career in private and public figure painting. Giulia Lama appears to have been the first woman to break the barrier against women studying and drawing the figure from life. Over 200 drawings that were recently discovered clearly show that she indeed studied both male and female nude figures during her training. She had public success in a style that was typically a position held by men and it is through the identification of three such altarpieces in a Venetian guidebook of 1733 that Lamas artistic personality began to be reconstructed. That she was as competent as the male artists with whom she competed is demonstrated by the names to which her work has been attributed. Recovery of Lamas oeuvre has required reattribution of works by not only Piazzetta, but also such as Federico Bencovich, Domenico Maggiotto, Francesco Capella. Walter Armstrong and Robert Edmund Graves, ed, dictionary of Painters and Engravers, Biographical and Critical
26.
Francesco Polazzo
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Francesco Polazzo was an Italian painter of the late-Baroque period, active mainly in Venice. He was a pupil of Giovanni Battista Piazzetta, and painted portraits and historical subjects, lanzi said of him that he softened down the style of Piazzetta with that of Ricci. Walter Armstrong & Robert Edmund Graves, ed, dictionary of Painters and Engravers, Biographical and Critical. York St. #4, Covent Garden, London, Original from Fogg Library, Digitized May 18,2007, George Bell, lanzi, Luigi, The History of Painting in Italy, The school of Venice
27.
Art Institute of Chicago
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The Art Institute of Chicago, founded in 1879 and located in Chicagos Grant Park, is one of the oldest and largest art museums in the United States. Recognized for its efforts and popularity among visitors, the museum hosts approximately 1.5 million guests annually. The growth of the collection has warranted several additions to the museums original 1893 building, the Art Institute is connected to the School of the Art Institute of Chicago, a leading art school, making it one of the few remaining unified arts institutions in the United States. In 1866, a group of 35 artists founded the Chicago Academy of Design in a studio on Dearborn Street, the organization was modeled after European art academies, such as the Royal Academy, with Academicians and Associate Academicians. The Academys charter was granted in March 1867, classes started in 1868, meeting every day at a cost of $10 per month. The Academys success enabled it to build a new home for the school, a stone building on 66 West Adams Street. When the Great Chicago Fire destroyed the building in 1871 the Academy was thrown into debt, attempts to continue despite the loss by using rented facilities failed. By 1878 the Academy was $10,000 in debt, members tried to rescue the ailing institution by making deals with local businessmen, before some finally abandoned it in 1879 to found a new organization, named the Chicago Academy of Fine Arts. When the Chicago Academy of Design went bankrupt the same year, in 1882, the Chicago Academy of Fine Arts changed its name to the current Art Institute of Chicago and elected as its first president the banker and philanthropist Charles L. Also in 1882, the purchased a lot on the southwest corner of Michigan Avenue. By January 1885 the trustees recognized the need to provide space for the organizations growing collection. The city agreed, and the building was completed in time for the year of the fair. Construction costs were met by selling the Michigan/Van Buren property, on October 31,1893 the Institute moved into the new building. For the opening reception on December 8,1893, Theodore Thomas, from the 1900s to the 1960s the school offered with the Logan Family the Logan Medal of the Arts, an award which became one of the most distinguished awards presented to artists in the US. Between 1959 and 1970 the Institute was a key site in the battle to gain art and documentary photography a place in galleries, under curator Hugh Edwards and his assistants. As Director of the museum starting in the early 1980s, James N. Wood conducted an expansion of its collection. He retired from the museum in 2004, in 2006, the Art Institute began construction of The Modern Wing, an addition situated on the southwest corner of Columbus and Monroe. The project, designed by Pritzker Prize winning architect Renzo Piano, was completed, the 264, 000-square-foot building makes the Art Institute the second-largest art museum in the United States
28.
San Stae
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San Stae is a church in central Venice, in the sestiere of Santa Croce. The interior has a tomb for the Mocenigo family, the right wall contains altars with works by Niccolò Bambini, Giuseppe Camerata, and Antonio Balestra. The three chapels on the left house works by Giuseppe Torretto, Pietro Baratta, Francesco Migliori, the sacristy contains a Death of Christ by Pietro della Vecchia and a Trajan orders SantEustachio to pray to the idols by Giambattista Pittoni. Museo di Palazzo Mocenigo Chorus Venezia entry Russian pavilion in the San Stae church — The 11th International Architecture Exhibition
29.
Santa Maria della Fava
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Santa Maria della Fava, also originally known as Santa Maria della Consolazione, is an ancient Roman Catholic church in the sestiere of Castello in Venice, Italy. The suffix of della Fava attributed to the church, bridge, one explanation is that this area in Venice was used for the commerce of beans or the home of pastry shops for bean cake. The church then was built to house the miraculous icon, finally, the church may have been endowed by the Fava family from Ferrara. The original church at the site was completed by 1500, while by 1662, it was under the jurisdiction of the Procuratoria of St Mark, it later was under the order of Saint Phillip Neri. The reconstructed, but unfinished, church we see today was designed by Antonio Gaspari in 1711, while the apse, the interior of the church has a famous altarpiece of Saint Anne, Young Mary, and Saint Gioacchino, by Tiepolo. It also houses a Virgin with St Phillip Neri by Piazzetta, a series of statues of Saints and Evangelists were carved by Giuseppe Bernardi. Newton-Compton,2008 Notizie storiche delle chiese e monasteri di Venezia, e di Torcello, stamperia del Seminario, Appresso Giovanni Manfrè, Padua
30.
Rudolf Wittkower
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Rudolf Wittkower was a German-American art historian specializing in Italian Renaissance and Baroque art and architecture. He was born in Berlin to Henry Wittkower and Gertrude Ansbach and he moved to London in 1933 with his wife Margot Holzmann because they were both Jewish and were fleeing Nazi Germany. Wittkowers Architectural Principles in the Age of Humanism introduced an in depth analysis of Venetian architect Andrea Palladio, part Four specifically deals with how and why Palladio adapted harmonic musical ratios and incorporated them into the physical proportions of his buildings. Although this theory of Palladian proportions was universally accepted after the books release, Wittkower had encountered this notion that musical harmony may act in a manner analogous to visual harmony in Pythagoras, where it was also noted by Alberti. He was awarded the Alice Davis Hitchcock Award posthumously in 1975 for his book Gothic vs. Classic, Architectural Principles in the Age of Humanism Bernini, The Sculptor of the Roman Baroque The Arts in Western Europe, Italy in New Cambridge Modern History, vol. Making Art History at Columbia, Meyer Schapiro and Rudolf Wittkower, Four Centuries of Literature on Palladio, The Journal of the Society of Architectural Historians, Vol.39, No
31.
Gesuati
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For the related religious order, see Jesuati. Santa Maria del Rosario, commonly known as I Gesuati, is an 18th-century Dominican church in the Sestiere of Dorsoduro, on the Giudecca canal in Venice, the classical style building has a well-lit interior and is exceptional in preserving its original layout and Rococo decoration intact. The religious order of the Jesuates, formally the Clerici apostolici Sancti Hieronymi was founded in Siena in the 14th century and had a presence in Venice by 1390. Its members were known as I poveri Gesuati because they called on the name of Jesus, they had no connection with the Jesuits. They acquired some wealth from donations and legacies and from privileges granted by the state, in 1493, they commenced the building of a small church on land fronting the Zattere, where the other buildings of the order stood. This church was dedicated to St. Jerome and later to Santa Maria della Visitazione. Later, the found it hard to recruit new members. In 1669 their property was put up for auction and acquired by the Dominicans and it became known as the Dominicans place at the Gesuati and the Venetians have to this day continued to use the name. The small church of the Visitation was not large enough for the Dominicans and by 1720 they had decided to build a new church, larger and of more architectural importance. They first engaged Andrea Musato, but he died in 1721 and they turned to Giorgio Massari, rudolf Wittkower describes Massari as the greatest Venetian architect of the first half of the 18th century. Work started in 1725, while the Dominicans energetically sought to raise sufficient funds, the funding was organised by a Father from Milan, Carlo Maria Lazzaroni, who was successful in raising a very large sum. This enabled them not only to build a magnificent church, Massari left untouched the existing church of the Visitation and built the new church further along the Zattere. He was responsible not only for the building itself but also for its interior fittings and decoration and for commissioning the paintings and sculpture. The facade of the church was derived from the portion of the facade of San Giorgio Maggiore. The Dominicans wished the building to celebrate the glories of their order, the feast of Our Lady of the Rosary) had been made part of the General Roman Calendar in 1716 after a victory over the Turks. The first stone was laid on 17 May 1726, in the presence of the Patriarch, the church was consecrated on 29 September 1743, by the then Patriarch, Alvise Foscari. The work was finished in 1755 and appears much as it did then. 270 piles had to be driven into the soil to support the weight of the facade, giant Corinthian pilasters support a heavy triangular pediment
32.
Bibsys
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BIBSYS is an administrative agency set up and organized by the Ministry of Education and Research in Norway. They are a provider, focusing on the exchange, storage and retrieval of data pertaining to research. BIBSYS are collaborating with all Norwegian universities and university colleges as well as research institutions, Bibsys is formally organized as a unit at the Norwegian University of Science and Technology, located in Trondheim, Norway. The board of directors is appointed by Norwegian Ministry of Education, BIBSYS offer researchers, students and others an easy access to library resources by providing the unified search service Oria. no and other library services. They also deliver integrated products for the operation for research. As a DataCite member BIBSYS act as a national DataCite representative in Norway and thereby allow all of Norways higher education, all their products and services are developed in cooperation with their member institutions. The purpose of the project was to automate internal library routines, since 1972 Bibsys has evolved from a library system supplier for two libraries in Trondheim, to developing and operating a national library system for Norwegian research and special libraries. The target group has expanded to include the customers of research and special libraries. BIBSYS is an administrative agency answerable to the Ministry of Education and Research. In addition to BIBSYS Library System, the product consists of BISBYS Ask, BIBSYS Brage, BIBSYS Galleri. All operation of applications and databases is performed centrally by BIBSYS, BIBSYS also offer a range of services, both in connection with their products and separate services independent of the products they supply
33.
Integrated Authority File
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The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives, the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero license, the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format
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Netherlands Institute for Art History
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The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation, archives, and books on Western art from the late Middle Ages until modern times, all of this is open to the public, and much of it has been digitized and is available on their website. The main goal of the bureau is to collect, categorize, via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries. The library owns approximately 450,000 titles, of which ca.150,000 are auction catalogs, there are ca.3,000 magazines, of which 600 are currently running subscriptions. Though most of the text is in Dutch, the record format includes a link to library entries and images of known works. The RKD also manages the Dutch version of the Art and Architecture Thesaurus, the original version is an initiative of the Getty Research Institute in Los Angeles, California. Their bequest formed the basis for both the art collection and the library, which is now housed in the Koninklijke Bibliotheek. Though not all of the holdings have been digitised, much of its metadata is accessible online. The website itself is available in both a Dutch and an English user interface, in the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record, usually of the form, https, for example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number, to reference an artwork page directly, use the code listed at the bottom of the record, usually of the form, https, //rkd. nl/en/explore/images/ followed by the artworks record number. For example, the record number for The Night Watch is 3063. The Art and Architecture Thesaurus also assigns a record for each term, rather, they are used in the databases and the databases can be searched for terms. For example, the painting called The Night Watch is a militia painting, the thesaurus is a set of general terms, but the RKD also contains a database for an alternate form of describing artworks, that today is mostly filled with biblical references. To see all images that depict Miriams dance, the associated iconclass code 71E1232 can be used as a search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
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Virtual International Authority File
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The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
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