1.
Essen
–
Essen is a city in North Rhine-Westphalia, Germany. Its population of approximately 589,000 makes it the ninth-largest city in Germany and it is the central city of the northern part of the Rhine-Ruhr metropolitan area and seat to several of the regions authorities. Founded around 845, Essen remained a town within the sphere of influence of an important ecclesiastical principality until the onset of industrialization. The city then — especially through the Krupp family iron works — became one of Germanys most important coal and steel centers. Essen, until the 1970s, attracted workers from all over the country, following the region-wide decline of heavy industries in the last decades of the 20th century, the city has seen the development of a strong tertiary sector of the economy. Although it is the most indebted city in Germany, Essen continues to pursue its redevelopment plans, notable accomplishments in recent years include the title of European Capital of Culture on behalf of the whole Ruhr area in 2010 and the selection as the European Green Capital for 2017. In 1958, Essen was chosen to serve as the seat to a Roman Catholic diocese, in early 2003, the universities of Essen and the nearby city of Duisburg were merged into the University of Duisburg-Essen with campuses in both cities and a university hospital in Essen. Essen is located in the centre of the Ruhr area, one of the largest urban areas in Europe, comprising eleven independent cities and four districts with some 5.3 million inhabitants. The city limits of Essen itself are 87 km long and border ten cities, five independent and five kreisangehörig, the city extends over 21 km from north to south and 17 km from west to east, mainly north of the River Ruhr. The Ruhr forms the Lake Baldeney reservoir in the boroughs of Fischlaken, Kupferdreh, the lake, a popular recreational area, dates from 1931 to 1933, when some thousands of unemployed coal miners dredged it with primitive tools. Generally, large areas south of the River Ruhr are quite green and are quoted as examples of rural structures in the otherwise relatively densely populated central Ruhr area. According to the Federal Statistical Office of Germany, Essen with 9. 2% of its covered by recreational green is the greenest city in North Rhine-Westphalia. The city has been shortlisted for the title of European Green Capital two consecutive times, for 2016 and 2017, winning for 2017, the city was singled out for its exemplary practices in protecting and enhancing nature and biodiversity and efforts to reduce water consumption. Essen participates in a variety of networks and initiatives to reduce gas emissions. The lowest point can be found in the borough of Karnap at 26.5 m. The average elevation is 116 m, Essen comprises fifty boroughs which in turn are grouped into nine suburban districts often named after the most important boroughs. Each Stadtbezirk is assigned a Roman numeral and has a body of nineteen members with limited authority. Most of the boroughs were originally independent municipalities but were annexed from 1901 to 1975
Essen
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Skyline of Essen
Essen
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Despite its industrial history, Essen is generally regarded as one of Germany's greenest cities. The picture shows the borough of
Kettwig, annexed in 1975.
Essen
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Essen Minster
Essen
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Alte Kirche (Old Church, built 1887), Altenessen
2.
Otterlo
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Otterlo is a small village in the province of Gelderland in the Netherlands, in or near the Nationaal Park De Hoge Veluwe. The Kröller-Müller Museum, named after Helene Kröller-Müller, is situated nearby and has a collection of Vincent van Gogh paintings. Otterlo was a municipality until 1818, when it merged with Ede. Media related to Otterlo at Wikimedia Commons J. Kuyper, Gemeente Atlas van Nederland, 1865-1870, map of the former municipality, around 1868. CBC Archives - CBC Radio reporting from Otterlo April 17,1945
Otterlo
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Otterlo, reformed church
3.
Vincent van Gogh
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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
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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
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Vincent c. 1866, approx. age 13
Vincent van Gogh
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Van Gogh's drawing of
87 Hackford Road
4.
Hoge Veluwe National Park
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Nationaal Park De Hoge Veluwe is a Dutch national park in the province of Gelderland near the cities of Ede, Wageningen, Arnhem and Apeldoorn. It is approximately 55 square kilometers in area, consisting of heathlands, sand dunes and it is situated in the Veluwe, the area of the largest terminal moraine in the Netherlands. Most of the landscape of the park and the Veluwe was created during the last Ice Age, the alternating sand dune areas and heathlands may have been caused by human utilization of the surrounding lands. The park forms one of the largest continuous nature reserves in the Netherlands, the park was established by the businessman Anton Kröller and his wife Helene Kröller-Müller as an private estate in 1909. Up until 1923 the park was under construction with wildlife being imported, the hunting residence is called St. Hubertus Hunting Lodge after St. Hubertus and was designed by prominent Dutch architect Hendrik Petrus Berlage. Helene Kröller-Müller was an art collector and work had begun on a museum inside the park, due to worsening economic conditions the building of the museum was halted and the couple found themselves unable to keep the estate. In 1935 the art collection was donated to the State of the Netherlands, the park was handed over to a foundation, which received a loan from the State. At that time the estate became the national park in the Netherlands. The park is one of the two private owned national parks in the Netherlands, but the only one that asks an entrance fee. The park is surrounded by fences and these, combined with the required entrance fee, led to years of protests by cyclists and hikers who were forced either to pay the fee or else to follow lengthy detours. In 2007 a solution was reached by charging reduced fees for cyclists who spend only an amount of time within the confines of the park. There are three entrances, located at the villages of Otterlo, Hoenderloo and Schaarsbergen, there are several notable buildings inside the park. A second museum, Museonder, can be found at the visitor centre. Finally there is the aforementioned hunting residence which was designed by Hendrik Petrus Berlage, a bicycle sharing system in the park makes bicycles available for free to visitors, with much of the area being inaccessible by car. Hoge Veluwe. nl Pictures of Hoge Veluwe
Hoge Veluwe National Park
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De Hoge Veluwe National Park
Hoge Veluwe National Park
Hoge Veluwe National Park
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St. Hubertus Hunting Lodge
Hoge Veluwe National Park
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A fox in the park
5.
Germany
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Germany, officially the Federal Republic of Germany, is a federal parliamentary republic in central-western Europe. It includes 16 constituent states, covers an area of 357,021 square kilometres, with about 82 million inhabitants, Germany is the most populous member state of the European Union. After the United States, it is the second most popular destination in the world. Germanys capital and largest metropolis is Berlin, while its largest conurbation is the Ruhr, other major cities include Hamburg, Munich, Cologne, Frankfurt, Stuttgart, Düsseldorf and Leipzig. Various Germanic tribes have inhabited the northern parts of modern Germany since classical antiquity, a region named Germania was documented before 100 AD. During the Migration Period the Germanic tribes expanded southward, beginning in the 10th century, German territories formed a central part of the Holy Roman Empire. During the 16th century, northern German regions became the centre of the Protestant Reformation, in 1871, Germany became a nation state when most of the German states unified into the Prussian-dominated German Empire. After World War I and the German Revolution of 1918–1919, the Empire was replaced by the parliamentary Weimar Republic, the establishment of the national socialist dictatorship in 1933 led to World War II and the Holocaust. After a period of Allied occupation, two German states were founded, the Federal Republic of Germany and the German Democratic Republic, in 1990, the country was reunified. In the 21st century, Germany is a power and has the worlds fourth-largest economy by nominal GDP. As a global leader in industrial and technological sectors, it is both the worlds third-largest exporter and importer of goods. Germany is a country with a very high standard of living sustained by a skilled. It upholds a social security and universal health system, environmental protection. Germany was a member of the European Economic Community in 1957. It is part of the Schengen Area, and became a co-founder of the Eurozone in 1999, Germany is a member of the United Nations, NATO, the G8, the G20, and the OECD. The national military expenditure is the 9th highest in the world, the English word Germany derives from the Latin Germania, which came into use after Julius Caesar adopted it for the peoples east of the Rhine. This in turn descends from Proto-Germanic *þiudiskaz popular, derived from *þeudō, descended from Proto-Indo-European *tewtéh₂- people, the discovery of the Mauer 1 mandible shows that ancient humans were present in Germany at least 600,000 years ago. The oldest complete hunting weapons found anywhere in the world were discovered in a mine in Schöningen where three 380, 000-year-old wooden javelins were unearthed
Germany
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The
Nebra sky disk is dated to c. 1600 BC.
Germany
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Flag
Germany
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Martin Luther (1483–1546) initiated the
Protestant Reformation.
Germany
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Foundation of the
German Empire in
Versailles, 1871.
Bismarck is at the center in a white uniform.
6.
Netherlands
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The Netherlands is the main constituent country of the Kingdom of the Netherlands. It is a densely populated country located in Western Europe with three territories in the Caribbean. The European part of the Netherlands borders Germany to the east, Belgium to the south, and the North Sea to the northwest, sharing borders with Belgium, the United Kingdom. The three largest cities in the Netherlands are Amsterdam, Rotterdam and The Hague, Amsterdam is the countrys capital, while The Hague holds the Dutch seat of parliament and government. The port of Rotterdam is the worlds largest port outside East-Asia, the name Holland is used informally to refer to the whole of the country of the Netherlands. Netherlands literally means lower countries, influenced by its low land and flat geography, most of the areas below sea level are artificial. Since the late 16th century, large areas have been reclaimed from the sea and lakes, with a population density of 412 people per km2 –507 if water is excluded – the Netherlands is classified as a very densely populated country. Only Bangladesh, South Korea, and Taiwan have both a population and higher population density. Nevertheless, the Netherlands is the worlds second-largest exporter of food and agricultural products and this is partly due to the fertility of the soil and the mild climate. In 2001, it became the worlds first country to legalise same-sex marriage, the Netherlands is a founding member of the EU, Eurozone, G-10, NATO, OECD and WTO, as well as being a part of the Schengen Area and the trilateral Benelux Union. The first four are situated in The Hague, as is the EUs criminal intelligence agency Europol and this has led to the city being dubbed the worlds legal capital. The country also ranks second highest in the worlds 2016 Press Freedom Index, the Netherlands has a market-based mixed economy, ranking 17th of 177 countries according to the Index of Economic Freedom. It had the thirteenth-highest per capita income in the world in 2013 according to the International Monetary Fund, in 2013, the United Nations World Happiness Report ranked the Netherlands as the seventh-happiest country in the world, reflecting its high quality of life. The Netherlands also ranks joint second highest in the Inequality-adjusted Human Development Index, the region called Low Countries and the country of the Netherlands have the same toponymy. Place names with Neder, Nieder, Nether and Nedre and Bas or Inferior are in use in all over Europe. They are sometimes used in a relation to a higher ground that consecutively is indicated as Upper, Boven, Oben. In the case of the Low Countries / the Netherlands the geographical location of the region has been more or less downstream. The geographical location of the region, however, changed over time tremendously
Netherlands
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The Netherlands in 5500 BC
Netherlands
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Flag
Netherlands
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The Netherlands in 500 BC
Netherlands
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An oak figurine found in
Willemstad, North Brabant (4500 BC).
7.
Paul Gabriel
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Paul Joseph Constantin Gabriël or Paul Gabriël was a painter, draftsman, watercolorist, and etcher who belonged to the Hague School. Gabriël was born in Amsterdam, the son of the sculptor and painter, from 1840 until 1843 he was educated at the State Academy of Fine Arts in Amsterdam, where he was a pupil of Louis Zocher. The following year he went to the German town of Cleves, later he returned to the Netherlands and studied with Cornelis Lieste in Haarlem. Here he became acquainted with Anton Mauve, with whom he was to work with often, in 1853 Gabriël moved to Oosterbeek, also called the Dutch Barbizon, where landscape painter Johannes Warnardus Bilders had gathered around him many young painters. The members of this group would become central figures in the Hague School. In 1858, Gabriël introduced Anton Mauve to the area, who would return ten years in a row and would become good friends with Gerard Bilders. When Gabriël returned to Amsterdam to live, he had a hard time, there he was befriended by Willem Roelofs and benefited from Roelofs social position in the art world of Brussels. There he met Hendrik Willem Mesdag, also a student of Roelofs, Gabriël was also influenced by the painters of the Barbizon School, whose works were regularly exhibited in Brussels. Helped by Roeolofs suggestions, he developed into a landscape painter. Gabriëls paintings stand out from the grey tones for which the Hague School was famous because of his use of color. His work was less an impression of atmosphere than a consequence of the effect of the sunny Dutch landscape. The more he looked at the Dutch landscape, the color he perceived in it. He described the Dutch countryside as colorful, juicy, fat and said Our land is not grey, around 1880, he spent the summers in Kortenhoef, on Kampereiland and in Giethoorn. He visited the places in Overijssel with Willem Bastiaan Tholen, but it was only in 1864 that Gabriel would permanently return to the Netherlands. At that time he moved to Scheveningen, where he bought a house next to his student Geesje Mesdag-van Calcar, together they painted still lifes with flowers. In this period he painted the brook near Voorschoten, as well as in Broeksloot, Oosterbeek, Kinderdijk. In 1886, he stayed with the Mesdags at their home in Vries in Drente, in this period Gabriel also received recognition in the Netherlands. Museums purchased some of his important pieces, including The Pottery in Kampen, in Kortenhoef one of his pupils was Bernard van Beek
Paul Gabriel
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Portrait of Paul Gabriel in 1899 by
Therese Schwartze
Paul Gabriel
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Polder Landscape, watercolor
Paul Gabriel
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In the Month of July
Paul Gabriel
–
Farmhouse in an Open Field
8.
Art
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In their most general form these activities include the production of works of art, the criticism of art, the study of the history of art, and the aesthetic dissemination of art. The oldest documented forms of art are visual arts, which include creation of images or objects in fields including painting, sculpture, printmaking, photography, and other visual media. Music, theatre, film, dance, and other performing arts, as well as literature, until the 17th century, art referred to any skill or mastery and was not differentiated from crafts or sciences. Art may be characterized in terms of mimesis, expression, communication of emotion, during the Romantic period, art came to be seen as a special faculty of the human mind to be classified with religion and science. Though the definition of what art is disputed and has changed over time, general descriptions mention an idea of imaginative or technical skill stemming from human agency. The nature of art, and related such as creativity. One early sense of the definition of art is related to the older Latin meaning. English words derived from this meaning include artifact, artificial, artifice, medical arts, however, there are many other colloquial uses of the word, all with some relation to its etymology. Several dialogues in Plato tackle questions about art, Socrates says that poetry is inspired by the muses, and is not rational. He speaks approvingly of this, and other forms of divine madness in the Phaedrus, and yet in the Republic wants to outlaw Homers great poetic art, in Ion, Socrates gives no hint of the disapproval of Homer that he expresses in the Republic. For example, music imitates with the media of rhythm and harmony, whereas dance imitates with rhythm alone, the forms also differ in their object of imitation. Comedy, for instance, is an imitation of men worse than average. Lastly, the forms differ in their manner of imitation—through narrative or character, through change or no change, Aristotle believed that imitation is natural to mankind and constitutes one of mankinds advantages over animals. The second, and more recent, sense of the art as an abbreviation for creative art or fine art emerged in the early 17th century. The creative arts are a collection of disciplines which produce artworks that are compelled by a drive and convey a message, mood. Art is something that stimulates an individuals thoughts, emotions, beliefs, works of art can be explicitly made for this purpose or interpreted on the basis of images or objects. Often, if the skill is being used in a common or practical way, likewise, if the skill is being used in a commercial or industrial way, it may be considered commercial art instead of fine art. On the other hand, crafts and design are considered applied art
Art
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Clockwise from upper left: a
self-portrait by
Vincent van Gogh; a female ancestor figure by a
Chokwe artist; detail from the
Birth of Venus by
Sandro Botticelli; and an Okinawan
Shisa lion.
Art
–
Works of art can tell stories or simply express an aesthetic truth or feeling. Panorama of a section of A Thousand Li of Mountains and Rivers, a 12th-century painting by Song dynasty artist
Wang Ximeng.
Art
–
20th-century Rwandan bottle. Artistic works may serve practical functions, in addition to their decorative value.
Art
–
Venus of Willendorf, circa 24,000–22,000
BP
9.
Van Gogh Museum
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The Van Gogh Museum is an art museum dedicated to the works of Vincent van Gogh and his contemporaries in Amsterdam in the Netherlands. It is located at the Museum Square in the borough Amsterdam South, close to the Stedelijk Museum, the Rijksmuseum, the museum opened on 2 June 1973. It is located in buildings designed by Gerrit Rietveld and Kisho Kurokawa, the museums collection is the largest collection of Van Goghs paintings and drawings in the world. In 2015, the museum had 1.9 million visitors, and was the 2nd most visited museum in the Netherlands, upon Vincent van Goghs death in 1890, his work not sold fell into the possession of his brother Theo. Theo died six months after Vincent, leaving the work in the possession of his widow, selling many of Vincents paintings with the ambition of spreading knowledge of his artwork, Johanna maintained a private collection of his works. Design for a Van Gogh Museum was commissioned by the Dutch government in 1963 to Dutch architect, Rietveld died a year later, and the building was not completed until 1973, when the museum opened its doors. In 1998 and 1999, the building was renovated by the Dutch architect Martien van Goor, starting in late 2012, the museum was closed for renovations for six months. During this period,75 works from the collection were shown in the Hermitage Amsterdam, on 9 September 2013, the museum unveiled a long-lost Van Gogh painting that spent years in a Norwegian attic believed to be by another painter. It is the first full-size canvas by him discovered since 1928, sunset at Montmajour depicts trees, bushes and sky, painted with Van Goghs familiar thick brush strokes. It can be dated to the day it was painted because he described it in a letter to his brother, Theo. In 1991, twenty paintings were stolen from the museum, among them Van Goghs early painting The Potato Eaters, although the thieves escaped from the building,35 minutes later all stolen paintings were recovered from an abandoned car. Three paintings – Wheatfield with Crows, Still Life with Bible, four men, including two museum guards, were convicted for the theft and given six or seven-year sentences. It is considered to be the largest art theft in the Netherlands since the Second World War, in 2002, two paintings were stolen from the museum, Congregation Leaving the Reformed Church in Nuenen and View of the Sea at Scheveningen. Two Dutchmen were convicted for the theft to four-and-a-half-year sentences, the museum offered a reward of €100,000 for information leading to the recovery of the paintings. The FBI Art Crime Team listed the robbery on their Top Ten Art Crimes list, in September 2016, both paintings were discovered by the Guardia di Finanza in Naples, Italy. The two artworks were found in a good state, according to the Van Gogh Museum. The museum is situated at the Museumplein in Amsterdam-Zuid, on the Paulus Potterstraat 7, the museum consists of two buildings, the Rietveld building, designed by Gerrit Rietveld, and the Kurokawa wing, designed by Kisho Kurokawa. The museum offices are housed on Stadhouderskade 55 in Amsterdam-Zuid, the Rietveld building is the main structure of the museum and exhibits the permanent collection
Van Gogh Museum
–
Museum at the
Museumplein in 2008
Van Gogh Museum
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Location within the city center of Amsterdam
Van Gogh Museum
–
Johanna van Gogh-Bonger (1925) by
Isaac Israëls
Van Gogh Museum
–
Vincent van Gogh - Self-portrait with pipe, 1886, Van Gogh Museum
10.
Bart van der Leck
–
Bart van der Leck was a Dutch painter, designer, and ceramacist. With Theo van Doesburg and Piet Mondrian he founded the De Stijl art movement, son of a house painter, he started his career learning how to make stained glass in a shop in Utrecht. An example of his stained glass work is in the Kröller-Müller Museum in Hoge Veluwe. After having met Mondrian and van Doesburg and having founded the Stijl movement with them, his style became completely abstract, but after disagreements with Mondrian his abstract style became based on representational images. His painting Tryptich is an example, in which he transformed sketches of a mine in Spain into seemingly abstract shapes, in 1919-1920 he created the interior design for St Hubertus Hunting Lodge, in the Hoge Veluwe estate. The hunting lodge was designed by Hendrik Petrus Berlage, in 1930, he was commissioned by Jo de Leeuw, owner of the prestigious Dutch department store Metz & Co. to design interiors, window packaging, branding and advertising. For these print materials van der Leck developed a rectilinear, geometrically constructed alphabet, in 1941, he designed a typeface based on this alphabet for the avant garde magazine Flax. Architype van der Leck, a revival of that face by David Quary. Bart van der Leck claimed to be the father of the avant-garde movement, in his own words he said, Mondrian came to my place one day with Doesburg, whom I had never seen before. When Doesburg noticed an abstract painting right on the easel, he exlaimed, If that is to be the painting of the future, well, a few months later, he was painting in precisely that manner. Thats the sort of person Doesburg was, among the public collections holding works by the artist are, Museum de Fundatie, Zwolle, The Netherlands Kröller-Müller Museum Haley, Allen. Type, Hot Designers Make Cool Fonts, ISBN 1-56496-317-9 Hoek, Els, Marleen Blokhuis, Ingrid Goovaerts, Natalie Kamphuys, et al. Short biography at Codart Longer biography at Instituut voor Nederlandse Geschiedenis Works in the Kroller-Muller Museum, Otterlo
Bart van der Leck
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Bart van der Leck (1956)
Bart van der Leck
–
Metz & Co. showroom with wall hangings (left and rear walls) and carpet by Bart van der Leck, and furniture by
Gerrit Rietveld
11.
Georges Seurat
–
Georges-Pierre Seurat was a French post-Impressionist painter and draftsman. He is noted for his use of drawing media and for devising the painting techniques known as chromoluminarism and pointillism. His large-scale work, A Sunday Afternoon on the Island of La Grande Jatte, altered the direction of art by initiating Neo-impressionism. Seurat was born 2 December 1859 in Paris, at 60 rue de Bondy, the Seurat family moved to 136 boulevard de Magenta in 1862 or 1863. His father, Antoine Chrysostome Seurat, originally from Champagne, was a legal official who had become wealthy from speculating in property. Georges had a brother, Émile Augustin, and a sister, Marie-Berthe and his father lived in Le Raincy and visited his wife and children once a week at boulevard de Magenta. Georges Seurat first studied art at the École Municipale de Sculpture et Dessin, near his familys home in the boulevard Magenta, Seurats studies resulted in a well-considered and fertile theory of contrasts, a theory to which all his work was thereafter subjected. His formal artistic education came to an end in November 1879, after a year at the Brest Military Academy, he returned to Paris where he shared a studio with his friend Aman-Jean, while also renting a small apartment at 16 rue de Chabrol. For the next two years, he worked at mastering the art of monochrome drawing and his first exhibited work, shown at the Salon, of 1883, was a Conté crayon drawing of Aman-Jean. He also studied the works of Eugène Delacroix carefully, making notes on his use of color and he spent 1883 working on his first major painting—a large canvas titled Bathers at Asnières, a monumental work showing young men relaxing by the Seine in a working-class suburb of Paris. Seurat also departed from the Impressionist ideal by preparing for the work with a number of drawings, Bathers at Asnières was rejected by the Paris Salon, and instead he showed it at the Groupe des Artistes Indépendants in May 1884. Seurats new ideas on pointillism were to have a strong influence on Signac. In the summer of 1884, Seurat began work on A Sunday Afternoon on the Island of La Grande Jatte, the painting shows members of each of the social classes participating in various park activities. The tiny juxtaposed dots of multi-colored paint allow the eye to blend colors optically. It took Seurat two years to complete this 10-foot-wide painting, much of which he spent in the park sketching in preparation for the work and it is now in the permanent collection of the Art Institute of Chicago. The painting was the inspiration for James Lapine and Stephen Sondheims musical, Seurat concealed his relationship with Madeleine Knobloch, an artists model whom he portrayed in his painting Jeune femme se poudrant. In 1889 she moved in with Seurat in his studio on the 7th floor of 128bis Boulevard de Clichy, when Madeleine became pregnant, the couple moved to a studio at 39 passage de lÉlysée-des-Beaux-Arts. There she gave birth to their son, who was named Pierre-Georges,16 February 1890, Seurat died in Paris in his parents home on 29 March 1891 at the age of 31
Georges Seurat
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Georges Seurat, 1888
Georges Seurat
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Georges Seurat, 1889-90,
Le Chahut, oil on canvas, 170 x 141 cm,
Kröller-Müller Museum, Otterlo
Georges Seurat
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Jeune femme se poudrant (Young Woman Powdering Herself), 1888-90, oil on canvas, 95.5 x 79.5 cm,
Courtauld Institute of Art
Georges Seurat
–
Detail from
Circus Sideshow (Parade de Cirque) (1889) showing pointillism and color theory
12.
Picasso
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Pablo Ruiz y Picasso, also known as Pablo Picasso, was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Picasso demonstrated extraordinary artistic talent in his years, painting in a naturalistic manner through his childhood. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, Picassos work is often categorized into periods. Much of Picassos work of the late 1910s and early 1920s is in a neoclassical style and his later work often combines elements of his earlier styles. Ruiz y Picasso were included for his father and mother, respectively, born in the city of Málaga in the Andalusian region of Spain, he was the first child of Don José Ruiz y Blasco and María Picasso y López. His mother was of one quarter Italian descent, from the territory of Genoa, though baptized a Catholic, Picasso would later on become an atheist. Picassos family was of middle-class background and his father was a painter who specialized in naturalistic depictions of birds and other game. For most of his life Ruiz was a professor of art at the School of Crafts, Picasso showed a passion and a skill for drawing from an early age. According to his mother, his first words were piz, piz, a shortening of lápiz, from the age of seven, Picasso received formal artistic training from his father in figure drawing and oil painting. Ruiz was an academic artist and instructor, who believed that proper training required disciplined copying of the masters. His son became preoccupied with art to the detriment of his classwork, the family moved to A Coruña in 1891, where his father became a professor at the School of Fine Arts. On one occasion, the father found his son painting over his sketch of a pigeon. In 1895, Picasso was traumatized when his sister, Conchita. After her death, the moved to Barcelona, where Ruiz took a position at its School of Fine Arts. Picasso thrived in the city, regarding it in times of sadness or nostalgia as his true home, Ruiz persuaded the officials at the academy to allow his son to take an entrance exam for the advanced class. This process often took students a month, but Picasso completed it in a week, the student lacked discipline but made friendships that would affect him in later life. His father rented a room for him close to home so he could work alone, yet he checked up on him numerous times a day. Picassos father and uncle decided to send the young artist to Madrids Real Academia de Bellas Artes de San Fernando, at age 16, Picasso set off for the first time on his own, but he disliked formal instruction and stopped attending classes soon after enrolment
Picasso
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Picasso in 1908
Picasso
–
Pablo Picasso with his sister Lola, 1889
Picasso
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Pablo Picasso, 1901, Old Woman (Woman with Gloves), oil on cardboard, 67 x 52.1 cm,
Philadelphia Museum of Art
Picasso
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Pablo Picasso, 1901-02, Femme au café (Absinthe Drinker), oil on canvas, 73 x 54 cm,
Hermitage Museum, Saint Petersburg, Russia
13.
Georges Braque
–
Georges Braque was a major 20th-century French painter, collagist, draughtsman, printmaker and sculptor. His most important contributions to the history of art were in his alliance with Fauvism from 1906, braque’s work between 1908 and 1912 is closely associated with that of his colleague Pablo Picasso. Their respective Cubist works were indistinguishable for many years, yet the quiet nature of Braque was partially eclipsed by the fame, georges Braque was born on 13 May 1882 in Argenteuil, Val-dOise. He grew up in Le Havre and trained to be a house painter, however, he also studied artistic painting during evenings at the École des Beaux-Arts, in Le Havre, from about 1897 to 1899. In Paris, he apprenticed with a decorator and was awarded his certificate in 1902, the next year, he attended the Académie Humbert, also in Paris, and painted there until 1904. It was here that he met Marie Laurencin and Francis Picabia, Braques earliest works were impressionistic, but after seeing the work exhibited by the artistic group known as the Fauves in 1905, he adopted a Fauvist style. The Fauves, a group that included Henri Matisse and André Derain among others, Braque worked most closely with the artists Raoul Dufy and Othon Friesz, who shared Braques hometown of Le Havre, to develop a somewhat more subdued Fauvist style. In 1906, Braque traveled with Friesz to LEstaque, to Antwerp, in May 1907, he successfully exhibited works of the Fauve style in the Salon des Indépendants. The 1907 Cézanne retrospective at the Salon dAutomne greatly affected the artists of Paris. Braques paintings of 1908–1912 reflected his new interest in geometry and simultaneous perspective and he showed this in the painting Houses at lEstaque. Beginning in 1909, Braque began to work closely with Pablo Picasso who had been developing a similar proto-Cubist style of painting. At the time, Pablo Picasso was influenced by Gauguin, Cézanne, African masks, Picasso celebrates animation, while Braque celebrates contemplation. Thus, the invention of Cubism was a joint effort between Picasso and Braque, then residents of Montmartre, Paris and these artists were the styles main innovators. After meeting in October or November 1907, Braque and Picasso, in particular, both artists produced paintings of monochromatic color and complex patterns of faceted form, now termed Analytic Cubism. In 1912, they began to experiment with collage and Braque invented the papier collé technique, French art critic Louis Vauxcelles used the terms bizarre cubiques in 1908 after seeing a picture by Braque. He described it as full of little cubes, the term Cubism, first pronounced in 1911 with reference to artists exhibiting at the Salon des Indépendants, quickly gained wide use but Picasso and Braque did not adopt it initially. Art historian Ernst Gombrich described Cubism as the most radical attempt to stamp out ambiguity and to one reading of the picture—that of a man-made construction. The Cubist style spread quickly throughout Paris and then Europe, the two artists productive collaboration continued and they worked closely together until the beginning of World War I in 1914, when Braque enlisted with the French Army
Georges Braque
–
Georges Braque, 1908, photograph published in
Gelett Burgess, The Wild Men of Paris, Architectural Record, May 1910
Georges Braque
–
Georges Braque, 1906, L'Olivier près de l'Estaque (The Olive tree near l'Estaque). At least four versions of this scene were painted by Braque, one of which was stolen from the
Musée d'Art Moderne de la Ville de Paris during the month of May, 2010.
Georges Braque
–
Georges Braque, 1907-08, The Viaduct at L'Estaque (Le Viaduc de l'Estaque), oil on canvas, 65.1 x 80.6 cm,
Minneapolis Institute of Arts
Georges Braque
–
Georges Braque, 1908, Maisons et arbre (
Houses at l'Estaque), oil on canvas, 40.5 x 32.5 cm,
Lille Métropole Museum of Modern, Contemporary and Outsider Art
14.
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
15.
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.
16.
Diego Rivera
–
Diego María de la Concepción Juan Nepomuceno Estanislao de la Rivera y Barrientos Acosta y Rodríguez, known as Diego Rivera was a prominent Mexican painter. His large frescoes helped establish the Mexican mural movement in Mexican art, between 1922 and 1953, Rivera painted murals among others in Mexico City, Chapingo, Cuernavaca, San Francisco, Detroit, and New York City. In 1931, a exhibition of his works was held at the Museum of Modern Art in New York. Rivera had a marriage with fellow Mexican artist Frida Kahlo. Rivera was born in Guanajuato, Mexico, to a well-to-do family, Diego had a twin brother named Carlos, who died two years after they were born. Rivera was said to have Converso ancestry, Rivera wrote in 1935, My Jewishness is the dominant element in my life. Rivera began drawing at the age of three, a year after his brothers death. He had been drawing on the walls. His parents, rather than punishing him, installed chalkboards and canvas on the walls, as an adult, he married Angelina Beloff in 1911, and she gave birth to a son, Diego. Maria Vorobieff-Stebelska gave birth to a daughter named Marika in 1918 or 1919 when Rivera was married to Angelina and he married his second wife, Guadalupe Marín, in June 1922, with whom he had two daughters, Ruth and Guadalupe. He was still married when he met art student Frida Kahlo and they married on August 21,1929 when he was 42 and she was 22. Their mutual infidelities and his violent temper led to divorce in 1939, Rivera later married Emma Hurtado, his agent since 1946, on July 29,1955, one year after Kahlos death. His mural Dreams of a Sunday in the Alameda depicted Ignacio Ramírez holding a sign which read and this work caused a furor, but Rivera refused to remove the inscription. The painting was not shown for nine years – until Rivera agreed to remove the inscription. He stated, To affirm God does not exist, I do not have to hide behind Don Ignacio Ramírez, I am an atheist, from the age of ten, Rivera studied art at the Academy of San Carlos in Mexico City. He was sponsored to study in Europe by Teodoro A. Dehesa Méndez. In those years, Paris was witnessing the beginning of Cubism in paintings by such eminent painters as Pablo Picasso, Georges Braque, from 1913 to 1917, Rivera enthusiastically embraced this new school of art. Around 1917, inspired by Paul Cézannes paintings, Rivera shifted toward Post-Impressionism with simple forms and his paintings began to attract attention, and he was able to display them at several exhibitions
Diego Rivera
–
Diego Rivera with a
xoloitzcuintle, photo taken at the
Casa Azul
Diego Rivera
–
Diego Rivera, Maternidad, Angelina y el niño Diego (Motherhood, Angelina and the Child Diego), circa August 1916, oil on canvas, 134.5 x 88.5 cm, Museo de Arte Carrillo Gil. This work forms part of Rivera's
Crystal Cubist period
Diego Rivera
–
Frida Kahlo and Diego Rivera in 1932, Photo by:
Carl Van Vechten.
Diego Rivera
–
Diego Rivera's mural depicting Mexico's history at the
National Palace in Mexico City
17.
Juan Gris
–
José Victoriano González-Pérez, better known as Juan Gris, was a Spanish painter and sculptor born in Madrid who lived and worked in France most of his life. Closely connected to the artistic genre Cubism, his works are among the movements most distinctive. He later studied engineering at Madrids School of Arts and Sciences, there, from 1902 to 1904, he contributed drawings to local periodicals. From 1904 to 1905, he studied painting with the academic artist José Moreno Carbonero and it was in 1905 that José Victoriano González adopted the more distinctive name Juan Gris. In 1906 he moved to Paris and became friends with Henri Matisse, Georges Braque, in Paris, Gris followed the lead of another friend and fellow countryman, Pablo Picasso. He submitted darkly humorous illustrations to journals such as the anarchist satirical magazine LAssiette au Beurre, and also Le Rire, Le Charivari, Gris began to paint seriously in 1910, developing at this time a personal Cubist style. In A Life of Picasso, John Richardson writes that Jean Metzingers 1911 work, Le goûter, Gris exhibited for the first time at the 1912 Salon des Indépendants. He appears with two styles, writes art historian Peter Brooke, In one of them a grid structure appears that is reminiscent of the Goûter. In the other, Brooke continues, the grid is still present but the lines are not stated and their presence is suggested by the heavy, often triangular, shading of the angles between them. Both styles are distinguished from the work of Picasso and Braque by their clear, rational, although Gris regarded Picasso as a teacher, Gertrude Stein wrote in The Autobiography of Alice B. Toklas that Juan Gris was the person whom Picasso wished away. Gris, in same year, signed a contract that gave D. -H. Kahnweiler exclusive rights to his work, unlike Picasso and Braque, whose Cubist works were practically monochromatic, Gris painted with bright harmonious colors in daring, novel combinations in the manner of his friend Matisse. Gris exhibited with the painters of the Puteaux Group in the Salon de la Section dOr in 1912 and his preference for clarity and order influenced the Purist style of Amédée Ozenfant and Charles Edouard Jeanneret, and made Gris an important exemplar of the post-war return to order movement. In 1915 he was painted by his friend, Amedeo Modigliani, in November 1917 he made one of his few sculptures, the polychrome plaster Harlequin. Griss works from late 1916 through 1917 exhibit a greater simplification of geometric structure, the oblique overlapping planar constructions, tending away from equilibrium, can best be seen in Woman with Mandolin, after Corot and in its epilogue, Portrait of Josette Gris. Though Gris certainly had planned the representation of his subject matter. The geometric structure of Juan Griss Crystal period is already palpable in Still Life before an Open Window, the overlapping elemental planar structure of the composition serves as a foundation to flatten the individual elements onto a unifying surface, foretelling the shape of things to come
Juan Gris
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Juan Gris, 1922, photograph by
Man Ray (Paris)
Juan Gris
–
Portrait of Picasso, 1912, oil on canvas, the
Art Institute of Chicago
Juan Gris
–
Juan Gris, September 1916, Woman with Mandolin, after Corot (La femme à la mandoline, d'après Corot), oil on canvas, 92 x 60 cm,
Kunstmuseum Basel
Juan Gris
–
Guitar and Pipe, 1913,
Dallas Museum of Art, Texas
18.
Piet Mondrian
–
Pieter Cornelis Piet Mondriaan, after 1906 Mondrian, was a Dutch painter. Mondrian was a contributor to the De Stijl art movement and group and he evolved a non-representational form which he termed neoplasticism. This consisted of ground, upon which he painted a grid of vertical and horizontal black lines. Mondrians arrival in Paris from the Netherlands in 1911 marked the beginning of a period of profound change and he encountered experiments in Cubism and with the intent of integrating himself within the Parisian avant-garde removed an a from the Dutch spelling of his name. Mondrian was born in Amersfoort in the Netherlands, the second of his parents children and he was descended from Christian Dirkzoon Monderyan who lived in The Hague as early as 1670. The family moved to Winterswijk in the east of the country when his father, Pieter Cornelius Mondriaan, was appointed Head Teacher at a primary school. Mondrian was introduced to art from a early age. His father was a drawing teacher, and, with his uncle, Fritz Mondriaan. After a strictly Protestant upbringing, in 1892, Mondrian entered the Academy for Fine Art in Amsterdam and he already was qualified as a teacher. He began his career as a teacher in primary education, most of his work from this period is naturalistic or Impressionistic, consisting largely of landscapes. These paintings are most definitely representational, and they illustrate the influence that various artistic movements had on Mondrian, including pointillism, on display in the Gemeentemuseum Den Haag are a number of paintings from this period, including such Post-Impressionist works as The Red Mill and Trees in Moonrise. Another painting, Evening, depicting a tree in a field at dusk, even augurs future developments by using a palette consisting almost entirely of red, yellow, although Avond is only limitedly abstract, it is the earliest Mondrian painting to emphasize primary colors. Mondrians earliest paintings showing a degree of abstraction are a series of canvases from 1905 to 1908 that depict dim scenes of trees and houses reflected in still water. Mondrians art was related to his spiritual and philosophical studies. In 1908, he interested in the theosophical movement launched by Helena Petrovna Blavatsky in the late 19th century. The work of Blavatsky and a spiritual movement, Rudolf Steiners Anthroposophy. In 1918, he wrote I got everything from the Secret Doctrine, in 1921, in a letter to Steiner, Mondrian argued that his neoplasticism was the art of the foreseeable future for all true Anthroposophists and Theosophists. He remained a committed Theosophist in subsequent years, although he believed that his own artistic current, neoplasticism, would eventually become part of a larger
Piet Mondrian
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Mondrian in 1899
Piet Mondrian
–
Mondrian's birthplace in
Amersfoort, Netherlands, now
The Mondriaan House, a museum
Piet Mondrian
–
In this house, now the Villa Mondriaan, in
Winterswijk, Piet Mondrian lived from 1880 to 1892
Piet Mondrian
–
Willow Grove: Impression of Light and Shadow, c. 1905, oil on canvas, 35 × 45 cm,
Dallas Museum of Art
19.
Gino Severini
–
Gino Severini was an Italian painter and a leading member of the Futurist movement. For much of his life he divided his time between Paris and Rome and he was associated with neo-classicism and the return to order in the decade after the First World War. During his career he worked in a variety of media, including mosaic and he showed his work at major exhibitions, including the Rome Quadrennial, and won art prizes from major institutions. Severini was born into a family in Cortona, Italy. His father was a court official and his mother a dressmaker. He studied at the Scuola Tecnica in Cortona until the age of fifteen, for a while he worked with his father, then in 1899 he moved to Rome with his mother. It was there that he first showed a serious interest in art, with the help of a patron of Cortonese origins he attended art classes, enrolling in the free school for nude studies and a private academy. His formal art education ended after two years when his patron stopped his allowance, declaring, I absolutely do not understand your lack of order, in 1900 he met the painter Umberto Boccioni. The ideas of Divisionism had a influence on Severinis early work. Severini settled in Paris in November 1906, the move was momentous for him. He said later, The cities to which I feel most strongly bound are Cortona and Paris, I was born physically in the first and he lived in Montmartre and dedicated himself to painting. There he met most of the artists of the period, befriending Amedeo Modigliani and occupying a studio next to those of Raoul Dufy, Georges Braque. The sale of his work did not provide enough to live on and he was an important link between artists in France and Italy and came into contact with Cubism before his Futurist colleagues. Following a visit to Paris in 1911, the Italian Futurists adopted a sort of Cubism, in 1913, he had solo exhibitions at the Marlborough Gallery, London, and Der Sturm, Berlin. Severini later came to agree with Apollinaire, Severini was less attracted to the subject of the machine than his fellow Futurists and frequently chose the form of the dancer to express Futurist theories of dynamism in art. He was particularly adept at rendering lively urban scenes, for example in Dynamic Hieroglyph of the Bal Tabarin, during the First World War he produced some of the finest Futurist war art, notably his Italian Lancers at a Gallop and Armoured Train. In 1916 Severini departed from Futurism and painted works in a naturalistic style inspired by his interest in early Renaissance art. After the First World War, Severini gradually abandoned the Futurist style, by 1920 he was applying theories of classical balance based on the Golden Section to still lifes and figurative subjects from the traditional commedia dellarte
Gino Severini
–
Gino Severini, aged 30, at the opening of his solo exhibition at the Marlborough Gallery, London
Gino Severini
–
Gino Severini, 1910–11, La Modiste (The Milliner), oil on canvas, 64.8 x 48.3 cm,
Philadelphia Museum of Art
Gino Severini
–
Gino Severini, 1911, Souvenirs de Voyage (Memories of a Journey, Ricordi di viaggio), oil on canvas, 47 x 75 cm, private collection
Gino Severini
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Gino Severini, 1912, Dynamic Hieroglyphic of the Bal Tabarin, oil on canvas with sequins, 161.6 x 156.2 cm (63.6 x 61.5 in.),
Museum of Modern Art, New York
20.
Joseph Csaky
–
Joseph Csaky was a Hungarian avant-garde artist, sculptor, and graphic artist, best known for his early participation as a sculptor in the Cubist movement. Joseph Csaky was one of the first sculptors in Paris to apply the principles of pictorial Cubism to his art, a pioneer of modern sculpture, Csaky is among the most important sculptors of the early 20th century. He was an member of the Section dOr group between 1911 and 1914, and closely associated with De Stijl and Purism throughout the 1920s. Csaky fought alongside French soldiers during World War I and in 1922 became a naturalized French citizen and he was a founding member of lUnion des Artistes modernes in 1929. During World War II, Csaky joined forces with the French underground movement in Valençay, in the late 1920s, he collaborated with some other artists in designing furniture and other decorative pieces, including elements of the Studio House for the designer Jacques Doucet. After 1928, Csaky moved away from Cubism into a figurative or representational style for nearly thirty years. He exhibited internationally across Europe, but some of his pioneering artistic innovation was forgotten and his work today is primarily held by French and Hungarian institutions, as well as galleries and private collections both in France and abroad. József Csáky was born in Szeged, Hungary, then part of the monarchy of the Austro-Hungarian Empire. A provincial southern city, Szeged is now the third-largest in the country, Csaky moved with his family to Budapest at an early age, where he frequented museums and galleries. In 1905 Csaky was accepted at the Academy of Applied Arts in Budapest, where he studied under the direction of the sculptor Mátrai Lajos, ifj. for one and a half years. In 1907, for six and a half months, he worked in the Zsolnay Factory in Pécs, making ceramic ashtrays and he worked briefly as a metal founder in Budapest, and at one point with a taxidermist. Attracted by its reputation for lights and great artists, Csaky made the decision to move to Paris France and he traveled mostly by foot, walking fifty or sixty kilometers per day during the summer of 1908. In Paris a new world opened up for him and he made a living by doing odd jobs, working as a peddler, stone cutter, and posing as a model for students at a local art school, making 20 francs a week. He later posed for artists in their own studios, making more money. By autumn of 1908 he shared a space at Cité Falguière with Joseph Brummer. Within three weeks of Csakys arrival in Paris, Brummer showed the newcomer a sculpture he was working on, Brummer told Csaky that another artist in Paris, a Spaniard named Pablo Picasso, was painting in the spirit of Negro sculptures. Shortly after, Csaky found a studio at the artists collective La Ruche in Montparnasse, the building had been constructed by Gustave Eiffel, and was adapted as artists studios by the sculptor Alfred Boucher. Among other émigré artists at La Ruche were Alexander Archipenko, Wladimir Baranoff-Rossine, with his discovery of the work of Auguste Rodin laying the groundwork for an oeuvre characterized by a mastery of sculptural techniques, Csakys work in stone carving would evolve
Joseph Csaky
–
Joseph Csaky, 1926, photograph
André Kertész, exhibited at Galerie Au Sacre du printemps in Paris, 1927
Joseph Csaky
–
Joseph Csaky, 1911–1912,
Groupe de femmes (Groupe de trois femmes, Groupe de trois personnages), plaster lost, photo Galerie René Reichard, Frankfurt. Exhibited at the 1912 Salon d'Automne, and Salon des Indépendants, 1913, Paris
Joseph Csaky
–
Joseph Csaky, 1912,
Danseuse (Femme à l'éventail, Femme à la cruche), original plaster, exhibited at the
Salon d'Automne of 1912, Paris, n. 405, and
Salon des Indépendants of 1914, n. 813, photo from Csaky archives AC.110
Joseph Csaky
–
Joseph Csaky, Head, 1913, Plaster lost. Photo published in Montjoie! March 1914, also Richard, René, 1988
21.
Auguste Herbin
–
Auguste Herbin was a French painter of modern art. He is best known for his Cubist and abstract paintings consisting of geometric figures. He co-founded the groups Abstraction-Création and Salon des Réalités Nouvelles which promoted non-figurative abstract art and he was born in Quiévy, Nord. He studied drawing at the École des Beaux-Arts de Lille, from 1899 to 1901, in 1914, at the outbreak of World War I, he was exempted from military service because of his short stature and was committed to work in an airplane factory near Paris. Herbins radical reliefs of geometric forms in painted wood, such as Colored Wood Relief, challenged not only the status of the easel painting. Herbin himself later disowned his landscapes, still lifes and genre scenes of period, such as Bowls Players. Under the influence of surrealism, he became critical of the rational forms employed by De Stijl. After 1927 Herbin becomes interested by microphotographs of crystals and plants, in the 1930s, he co-founded the group Abstraction-Création in Paris and served as publisher and author for the journal Abstraction-Création. In the second issue of the journal he wrote against the rising Fascism, as a member of the Communist Association des Écrivains et Artistes Révolutionnaires he signed a statement against the political indifference of artists. Critical of Stalinism, he left the Communist party in the 1940s, beginning in 1942, Herbin developed a language of form and color, his alphabet plastique. Increasingly, his paintings consist only of colorful arrangements of triangles, circles and rectangles, in 1946 he was one of the founders of the Salon des Réalités Nouvelles, a successor of Abstraction-Création. He later served as the groups vice-president, after 1953 Herbin was paralyzed on the right side, forcing him to paint with the left hand. He died in Paris on 31 January 1960, one painting remained unfinished—the motif of the painting was constructed on the word Fin. During the 2000s an important series of original Herbins signed rugs have been realised by Didier Marien from the Boccara Gallery with the agreement of the rights holders. Those rugs exhibited in France, but also in Moscow, London and New York played a key role in the worldwide rediscovery of Auguste Herbins artistic creations. gouv
Auguste Herbin
–
Auguste Herbin, c.1909
Auguste Herbin
–
Auguste Herbin, Le pont de fer (Iron Bridge), 1911, oil on canvas, 63.5 x 80 cm
22.
Georges Valmier
–
Georges Valmier was a French painter. He also designed sets and costumes for theater and ballet, and models for fabrics, carpets and his oil paintings do not exceed 300 in number, since Valmier died prematurely at the age of 51. His paintings were the culmination of many preparatory drafts in gouaches, multiple versions of which are works in themselves and reflect his penchant for colors and remarkably inventive shapes. Valmier was also a musician, he performed the works of Debussy, Ravel, Fauré, and Satie at major concerts and in churches, georges Valmier was born in Angoulême on 11 April 1885. He moved with his family to Montmartre in 1890, and was brought up in an environment of love of the arts, including music and painting. Valmier performed military service during 1904-1905, and after his return and he entered the Ecole des Beaux-Arts, where he trained under Luc-Olivier Merson until 1909. He married Jeanne Bliss Pessina in 1908, their daughter Martha was born in 1912 and he was drafted into the military in 1914 and assigned to service in Toul, where he became acquainted with Albert Gleizes, Paul Colin, and the composer Florent Schmitt. Professor of Physiology from the Faculty of Nancy in charge of the infirmary at Toul, but for myself, I wanted to remain faithful to Cubism and not to play games with my own convictions. So the portrait I envisaged was a little surprising for the good habits of mind. He did not conceal his way of thinking, but he let me do what I wanted, upon his return to Montmartre in 1918, Valmier met Léonce Rosenberg, who soon recognized the high quality of his work and took him under contract. Rosenberg organized an exhibition for Valmier in 1921 at his Galerie de LEffort Moderne. From 1923 to 1927, under the patronage of Rosenberg, his works were published in the Bulletin de LEffort moderne. In 1928, Rosenberg entrusted him with the decoration of the room of his apartment at rue de Longchamp in Paris. The early 1930s marked Valmiers final transition to abstractionism, in 1936, Valmier began working on three monumental works for the decoration of the theater of the Palace of Railways for the World Expo held in Paris in 1937. Valmier suffered ill-health since 1932, and died on 25 March 1937 in Montmartre, Albert Lévy, Collection Décors et couleurs
Georges Valmier
–
Georges Valmier
Georges Valmier
–
Georges Valmier, 1914-15, Portrait de Commandant Lambert, gouache and watercolor over pencil, 63.2 x 50.8 cm, Triton Foundation, Netherlands
Georges Valmier
–
Georges Valmier, Galerie de L’Effort Moderne, January 1921
Georges Valmier
–
Georges Valmier, Fugue, ca. 1920, Oil on canvas, 115.2 × 72.8 cm (45.4 × 28.7 in), Solomon R. Guggenheim Museum, New York Solomon R. Guggenheim Founding Collection, By gift
Guggenheim Museum
23.
Tobeen
–
Tobeen is the pseudonym of the French artist Félix Elie Bonnet. Tobeen stayed frequently in the part of thé Pyrenees, Basque Country. Because of his frequent reference to Basque subjects within his paintings he became known as a Basque artist, however, he was not a Basque and neither were his parents. From 1910 he worked in Paris where he maintained relations with the group of Pablo Picasso and Georges Braque and he exhibited eleven works at the Salon de la Section dOr, Galerie La Boétie, Paris, October 1912. But Tobeen was not a city-dweller and he loved a life of liberty, the sea, the woods and after 1920 he settled in Saint-Valery-sur-Somme. Tobeens paintings, drawings and woodcarvings show the traces of his Parisian period, Tobeen. org Inscription au catalogue raisonné Tobeen Richard/Goiko
Tobeen
–
Pelotaris, 1912
Tobeen
–
Three photographs printed in the magazine Zlatá Praha (Golden Prague in Czech), 13 March 1914, for the occasion of the
Moderni Umeni, S.V.U. Mánes exhibition in Prague. From left to right: Tobeen, Pelotaris (1912),
Constantin Brâncuși, Portrait of Mademoiselle Pogany (1912),
Jean Metzinger,
La Femme à l'Éventail (Woman with a Fan) and
En Canot (V Člunu)
24.
Modern art
–
Modern art includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the style and philosophy of the art produced during that era. The term is associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation. Modern artists experimented with new ways of seeing and with ideas about the nature of materials. A tendency away from the narrative, which was characteristic for the traditional arts, more recent artistic production is often called contemporary art or postmodern art. Matisses two versions of The Dance signified a key point in his career and in the development of modern painting, analytic cubism was jointly developed by Picasso and Georges Braque, exemplified by Violin and Candlestick, Paris, from about 1908 through 1912. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé, the notion of modern art is closely related to modernism. Although modern sculpture and architecture are reckoned to have emerged at the end of the 19th century, the beginnings of modern painting can be located earlier. The date perhaps most commonly identified as marking the birth of art is 1863. Earlier dates have also proposed, among them 1855 and 1784. In the words of art historian H, harvard Arnason, Each of these dates has significance for the development of modern art, but none categorically marks a completely new beginning. A gradual metamorphosis took place in the course of a hundred years, the strands of thought that eventually led to modern art can be traced back to the Enlightenment, and even to the 17th century. The important modern art critic Clement Greenberg, for instance, called Immanuel Kant the first real Modernist but also drew a distinction, The Enlightenment criticized from the outside. The French Revolution of 1789 uprooted assumptions and institutions that had for centuries been accepted with little question and this gave rise to what art historian Ernst Gombrich called a self-consciousness that made people select the style of their building as one selects the pattern of a wallpaper. The pioneers of art were Romantics, Realists and Impressionists. By the late 19th century, additional movements which were to be influential in art had begun to emerge. The advocates of realism stood against the idealism of the academic art that enjoyed public. The most successful painters of the day worked either through commissions or through public exhibitions of their own work. There were official, government-sponsored painters unions, while governments regularly held exhibitions of new fine
Modern art
–
Pablo Picasso, Dejeuner sur l'Herbe
Modern art
–
Henri de Toulouse-Lautrec, At the Moulin Rouge: Two Women Waltzing, 1892
Modern art
–
Vincent van Gogh, Country road in Provence by Night, 1889, May 1890,
Kröller-Müller Museum
Modern art
–
Paul Cézanne,
The Large Bathers, 1898–1905
25.
Arnhem
–
Arnhem /ˈɑːrnəm/ or /ˈɑːrnhɛm/ is a city and municipality, situated in the eastern part of the Netherlands. It is the capital of the province of Gelderland and located on banks of the rivers Nederrijn and Sint-Jansbeek, which was the source of the citys development. Arnhem had a population of 151,356 in 2014 and is one of the cities of the Netherlands. The municipality is part of the city region Arnhem-Nijmegen, which has a combined 736,500 inhabitants, Arnhem is home to the Hogeschool van Arnhem en Nijmegen, ArtEZ Institute of the Arts, Netherlands Open Air Museum, Royal Burgers Zoo and National Sports Centre Papendal. The oldest archeological findings of human activity around Arnhem are two firestones of about 70,000 years ago and these come from the stone age, when the Neanderthals lived in this part of Europe. In Schuytgraaf, remnants of a camp from around 5000 BC have been discovered. In Schaarsbergen,12 grave mounds were found from 2400 BC, the earliest settlement in Arnhem dates from 1500 BC, of which traces have been found on the Hoogkamp, where the Van Goyenstraat is currently located. Arnhem arose on the location where the road between Nijmegen and Utrecht/Zutphen split, Seven streams provided the city with water, and only when the flow of the Rhine was changed in 1530, was the city located on the river. Arnhem was first mentioned as such in 893 as Arneym or Arentheym, in 1233 Count Otto II of Guelders from Zutphen, conferred city rights on the town, which had belonged to the abbey of Prüm, settled in, and fortified it. Arnhem entered the Hanseatic League in 1443, in 1473, it was captured by Charles the Bold of Burgundy. In 1514, Charles of Egmond, duke of Guelders, took it from the dukes of Burgundy, in 1543, as capital of the so-called Kwartier van Veluwe it joined the Union of Utrecht during the Eighty years war in 1579. After its capture from the Spanish forces by Dutch and English troops in 1585 the city part of the Republic of the Seven United Provinces of the Netherlands. The French occupied the town 1672–74, from 1795 to 1813, it was reoccupied by the French, by both revolutionary and imperial forces. In the early 19th century, the fortifications were almost completely dismantled. The Sabelspoort is the remaining part of the medieval walls. In the 19th century, Arnhem was a resort town famous for its picturesque beauty. It was known as het Haagje van het oosten, mainly because a number of former sugar barons or planters from the Indies settled there. Even now the city is famous for its parks and greenery, the urbanization in the north on hilly terrain is also quite unusual for the Netherlands
Arnhem
–
Skyline of Arnhem
Arnhem
–
The
John Frost Bridge, seen from the memorial.
Arnhem
–
This article is about the Dutch city and municipality. For other uses, see
Arnhem (disambiguation).
Arnhem
–
Cultuurhuis Rozet
26.
Christiaan de Wet
–
Christiaan Rudolf de Wet was a South African Boer general, rebel leader and politician. He was born on the Leeuwkop farm, in the district of Smithfield in the Boer Republic of the Orange Free State and he later resided at Dewetsdorp, named after his father, Jacobus Ignatius de Wet. De Wet is mentioned in Kiplings poem Ubique and he was a close personal friend of Helene Kröller-Müller who commissioned a statue of him in the Hoge Veluwe National Park in the Netherlands. This eventually led to the end of the war and the reinstatement of the independence of the Zuid-Afrikaansche Republiek, in the years between the First and Second Boer Wars, from 1881 to 1896, he lived on his farm, becoming a member of the Volksraad in 1897. In September 1899 de Wet and his three sons were called up as ordinary private burghers without any rank and he was a member of the Heilbron commando and they were ordered to proceed to the Natal frontier. On 11 October 1899, while he was reconnoitring the Natal frontier and he participated in the fight at Nicholsons Nek on 30 October, when 954 British officers and men surrendered. Thereafter he took part in the siege of Ladysmith, on 9 December 1899 De Wet received a telegram from the State President, M. T. Steyn, informing him that he had appointed a Fighting General and was to proceed to the Western frontier. He found General Piet Cronjé in command of the Boer forces ensconced at Magersfontein South of Kimberley, De Wet was to be Cronjes second-in-command. The British advance commenced on 11 February 1900 with General French outflanking Cronje at Magersfontein, De Wets raid on the ox wagon convoy at Watervals Drift, capturing 1600 oxen, did not stem the tide. Kimberleys siege was relieved on 15 February and Cronje surrendered with 4000 men at Paardeberg on 27 February, shortly thereafter de Wet was appointed Commander-in-Chief of the Free State forces. They could not contain the British advance towards the Free State capital, Bloemfontein and his next successful action was the surprise attack on Sannas Post near Bloemfontein on 31 March 1900. This was followed on 4 April by the victory of Reddersburg and he came to be regarded as the most formidable leader of the Boers in their guerrilla warfare. His brother Piet Daniel De Wet, another successful Boer general, was captured by the British in July 1901, during the last phase of the war, the Afrikaner people of Winburg taunted the local British Army garrison with an English language parody of Sir Walter Scotts Bonnie Dundee. De Wet he is mounted, he rides up the street The English skedaddle an A1 retreat, and the commander swore, Theyve got through the net Thats been spread with such care for Christiaan De Wet. There are hills beyond Winburg and Boers on each hill Sufficient to thwart ten generals skill There are stout-hearted burghers 10,000 men set On following the Mausers of Christian De Wet. Then away to the hills, to the veld, to the rocks Ere we own a usurper well crouch with the fox And tremble false Jingoes amidst all your glee Ye have not seen the last of my Mausers and me. De Wet took a part in the peace negotiations of 1902
Christiaan de Wet
–
Christiaan Rudolph de Wet
27.
Auguste Rodin
–
François Auguste René Rodin, known as Auguste Rodin, was a French sculptor. Although Rodin is generally considered the progenitor of modern sculpture, he did not set out to rebel against the past and he was schooled traditionally, took a craftsman-like approach to his work, and desired academic recognition, although he was never accepted into Pariss foremost school of art. Sculpturally, Rodin possessed an ability to model a complex, turbulent. Many of his most notable sculptures were roundly criticized during his lifetime and they clashed with predominant figurative sculpture traditions, in which works were decorative, formulaic, or highly thematic. Rodins most original work departed from traditional themes of mythology and allegory, modeled the human body with realism, Rodin was sensitive to the controversy surrounding his work, but refused to change his style. Successive works brought increasing favor from the government and the artistic community, by 1900, he was a world-renowned artist. Wealthy private clients sought Rodins work after his Worlds Fair exhibit and he married his lifelong companion, Rose Beuret, in the last year of both their lives. His sculptures suffered a decline in popularity after his death in 1917, Rodin remains one of the few sculptors widely known outside the visual arts community. Rodin was born in 1840 into a family in Paris, the second child of Marie Cheffer and Jean-Baptiste Rodin. He was largely self-educated, and began to draw at age ten, between ages 14 and 17, Rodin attended the Petite École, a school specializing in art and mathematics, where he studied drawing and painting. His drawing teacher, Horace Lecoq de Boisbaudran, believed in first developing the personality of his students so that they observed with their own eyes, Rodin still expressed appreciation for his teacher much later in life. It was at Petite École that he first met Jules Dalou, in 1857, Rodin submitted a clay model of a companion to the École des Beaux-Arts in an attempt to win entrance, he did not succeed, and two further applications were also denied. Given that entrance requirements at the Grande École were not particularly high, Rodins inability to gain entrance may have been due to the judges Neoclassical tastes, while Rodin had been schooled in light, 18th-century sculpture. Leaving the Petite École in 1857, Rodin earned a living as a craftsman, Rodins sister Maria, two years his senior, died of peritonitis in a convent in 1862. Rodin was anguished and felt guilty because he had introduced Maria to an unfaithful suitor, turning away from art, he briefly joined a Catholic order, the Congregation of the Blessed Sacrament. Saint Peter Julian Eymard, founder and head of the congregation, recognized Rodins talent and, sensing his lack of suitability for the order and he returned to work as a decorator, while taking classes with animal sculptor Antoine-Louis Barye. The teachers attention to detail – his finely rendered musculature of animals in motion – significantly influenced Rodin, in 1864, Rodin began to live with a young seamstress named Rose Beuret, with whom he would stay – with ranging commitment – for the rest of his life. The couple had a son, Auguste-Eugène Beuret and that year, Rodin offered his first sculpture for exhibition, and entered the studio of Albert-Ernest Carrier-Belleuse, a successful mass producer of objets dart
Auguste Rodin
–
Rodin circa 1862.
Auguste Rodin
–
Photo of Rodin wearing a beret.
Auguste Rodin
–
Camille Claudel (1864–1943)
Auguste Rodin
–
Rodin in his studio.
28.
Sunflowers (Van Gogh series)
–
Sunflowers are the subject of two series of still life paintings by the Dutch painter Vincent van Gogh. The earlier series, executed in Paris in 1887, depicts the flowers lying on the ground, while the set, executed a year later in Arles. In the artists mind both sets were linked by the name of his friend Paul Gauguin, who acquired two of the Paris versions, Van Gogh was upset and replied that Gauguin had absolutely no right to make this request, I am definitely keeping my sunflowers in question. He has two of them already, let that hold him, so if he ever broaches this subject again, Ive told you just how matters stand. The two Sunflowers in question show two buttons each, one of them was preceded by a study, and a fourth large canvas combines both compositions. These were Van Goghs first paintings with nothing but sunflowers—yet, he had already included sunflowers in still life, leaving aside the first two versions, all Arlesian Sunflowers are painted on size 30 canvases. None meets the descriptions supplied by van Gogh himself in his announcement of the series in every detail. The first version differs in size, is painted on a size 20 canvas—not on a size 15 canvas as indicated—and all the others differ in the number of flowers depicted from van Goghs announcement. The second was evidently enlarged and the initial composition altered by insertion of the two flowers lying in the foreground, center and right, neither the third nor the fourth shows the dozen or 14 flowers indicated by the artist, but more—fifteen or sixteen. Both repetitions of the 4th version are no longer in their original state, in the Amsterdam version a strip of wood was added at the top—probably by van Gogh himself. The Tokyo version, however, was enlarged on all sides with strips of canvas, the series is perhaps van Goghs best known and most widely reproduced. In recent years there has been regarding the authenticity of one of the paintings. Most experts, however, conclude that the work is genuine, a definite hint for the arrangement of the triptych is supplied by Van Goghs sketch in a letter of July 1889. Later that year, Vincent selected both versions for his display at Les XX,1890, Van Gogh began painting in late summer 1888 and continued into the following year. One went to decorate his friend Paul Gauguins bedroom, the paintings show sunflowers in all stages of life, from full bloom to withering. The paintings were considered innovative for their use of the yellow spectrum, in a letter to Theo, Vincent wrote, Its a type of painting that changes its aspect a little, which grows in richness the more you look at it. Besides, you know that Gauguin likes them extraordinarily and he said to me about them, among other things, ‘that —. You know that Jeannin has the peony, Quost has the hollyhock, the price was over four times the previous record of about $12 million paid for Andrea Mantegnas Adoration of the Magi in 1985
Sunflowers (Van Gogh series)
–
Sunflowers
Sunflowers (Van Gogh series)
–
Sunflowers, study (F.377), Oil on canvas, 21 x 27 cm,
Van Gogh Museum, Amsterdam
Sunflowers (Van Gogh series)
–
Sunflowers (F.375), Oil on canvas, 43.2 x 61 cm,
Metropolitan Museum of Art, New York
Sunflowers (Van Gogh series)
–
Sunflowers (F.452), Oil on canvas, 60 × 100 cm,
Kröller-Müller Museum, Otterlo
29.
International Standard Book Number
–
The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
International Standard Book Number
–
A 13-digit ISBN, 978-3-16-148410-0, as represented by an
EAN-13 bar code
30.
Forbes
–
Forbes is an American business magazine. Published bi-weekly, it features articles on finance, industry, investing. Forbes also reports on related subjects such as technology, communications, science, politics and its headquarters is located in Jersey City, New Jersey. Primary competitors in the business magazine category include Fortune and Bloomberg Businessweek. The magazine is known for its lists and rankings, including its lists of the richest Americans. Another well-known list by the magazine is The Worlds Billionaires list, the motto of Forbes magazine is The Capitalist Tool. Its chairman and editor-in-chief is Steve Forbes, and its CEO is Mike Perlis, Forbes, a financial columnist for the Hearst papers, and his partner Walter Drey, the general manager of the Magazine of Wall Street, founded Forbes magazine on September 15,1917. Forbes provided the money and the name and Drey provided the publishing expertise, the original name of the magazine was Forbes, Devoted to Doers and Doings. Drey became vice-president of the B. C. Forbes Publishing Company, while B. C. Forbes became editor-in-chief, B. C. Forbes was assisted in his later years by his two eldest sons, Bruce Charles Forbes and Malcolm Stevenson Forbes. Bruce Forbes took over on his fathers death, and his strengths lay in streamlining operations, during his tenure, 1954–1964, the magazines circulation nearly doubled. On Malcolms death, his eldest son Malcolm Stevenson Steve Forbes Jr. became President and Chief Executive of Forbes, between 1961 and 1999 the magazine was edited by James Michaels. In 1993, under Michaels, Forbes was a finalist for the National Magazine Award. com, a 2009 New York Times report said,40 percent of the enterprise was sold. For a reported $300 million, setting the value of the enterprise at $750 million, according to Mark M. Edmiston of AdMedia Partners, Its probably not worth half of that now. The companys headquarters moved to the Newport section of downtown Jersey City. In November 2013, Forbes Media, which publishes Forbes magazine, was put up for sale and this was encouraged by Elevation Partners, of whom were minority shareholders. Sales documents prepared by Deutsche Bank revealed that the publishers 2012 EBITDA was $15 million, Forbes reportedly sought a price of $400 million. In July 2014, Forbes sold a majority of itself to Integrated Whale Media Investments, Steve Forbes and his magazines writers offer investment advice on the weekly Fox TV show Forbes on Fox and on Forbes On Radio. Other company groups include Forbes Conference Group, Forbes Investment Advisory Group, from the 2009 Times report, Steve Forbes recently returned from opening up a Forbes magazine in India, bringing the number of foreign editions to 10
Forbes
–
Cover for December 20, 2010, featuring
Julian Assange
Forbes
–
Forbes's former headquarters on
5th Avenue in Manhattan (now owned by New York University)
Forbes
–
Forbes Building on
Fifth Avenue in New York City (now owned by
New York University)
31.
The Seattle Times
–
The Seattle Times is a newspaper serving Seattle, Washington, United States. It is the daily newspaper in the state of Washington and has the largest Sunday circulation in the Pacific Northwest. It has been Seattles only major daily print newspaper since the demise of the version of the rival Seattle Post-Intelligencer in 2009. The Seattle Times originated as the Seattle Press-Times, a newspaper founded in 1891 with a daily circulation of 3,500. Renamed the Seattle Daily Times, it doubled its circulation within half a year, by 1915, circulation stood at 70,000. The newspaper moved to the Times Square Building at 5th Avenue and it built a new headquarters, the Seattle Times Building, north of Denny Way in 1930. The paper moved to its current headquarters at 1000 Denny Way in 2011, the Seattle Times switched from afternoon delivery to mornings on March 6,2000, citing that the move would help them avoid the fate of other defunct afternoon newspapers. This placed the Times in direct competition with its JOA partner, nine years later, the P-I became an online-only publication. The Times is one of the few remaining major city dailies in the United States independently operated and owned by a local family. The Seattle Times Company, while owning and operating the Times, the McClatchy Company owns 49.5 percent of voting common stock in the Seattle Times Company, formerly held by Knight Ridder until 2006. The Times reporting has received 10 Pulitzer Prizes, most recently for its news coverage of the 2014 landslide that killed 43 people in Oso. It has a reputation for its investigative journalism, in particular. In February 2002, The Seattle Times ran a subheadline American outshines Kwan, many Asian Americans felt insulted by the Times actions even after the newspaper apologized, because Michelle Kwan is also American. The newspapers management said the ads were aimed at demonstrating how effective advertising with The Times can be, the advertisements in favor of McKenna represent an $80,000 independent expenditure, making the newspaper the third largest contributor to his campaign. More than 100 staffers signed a letter of protest sent to Seattle Times Publisher Frank Blethen, the two papers maintained their own identities with separate news and editorial departments. The Times announced its intention to cancel the Joint Operating Agreement in 2003, hearst sued, arguing that a force majeure clause prevented the Times from claiming losses as reason to end the JOA when they result from extraordinary events. While a district judge ruled in Hearsts favor, the Times won on appeal, hearst continued to argue that the Times fabricated its loss in 2002. The two papers announced an end to their dispute on April 16,2007 and this arrangement JOA was terminated when the Post-Intelligencer ceased publication, its final printed edition was March 17,2009
The Seattle Times
–
The July 4, 2006 front page of The Seattle Times
The Seattle Times
–
"Quarters of the news editor", one a group of four photos in the
brochure Seattle and the Orient (1900) collectively captioned "The Seattle Daily Times —Editorial Department"
32.
University of Groningen
–
The University of Groningen is a public research university in the city of Groningen in the Netherlands. The university was founded in 1614 and is one of the oldest universities in the Netherlands as well as one of its largest, since its inception more than 200,000 students have graduated. It is a member of the distinguished international Coimbra Group of European universities, in April 2013, according to the results of the International Student Barometer, the University of Groningen, for the third time in a row, has been voted the best university of the Netherlands. In 2014 the university celebrated its 400th anniversary, the University of Groningen has ten faculties, nine graduate schools,27 research centres and institutes, and more than 175 degree programmes. There were four faculties – Theology, Law, Medicine, the coat of arms of the university was confirmed by the States of the City and County of Groningen in 1615. It consists of the arms, charged with an open book inscribed with the abbreviated words VER/BVM/DNI LV/CER/NA. The shield is surmounted by a crown of five leaves. The first 75 years of its existence were very fruitful for the University with about 100 students enrolling every year, on average two to three hundred students were registered with the University at any one time during this period. Opportunities and threats followed on each other’s heels during the nineteenth century, in 1815, at the same time as Leiden and Utrecht, the University gained recognition as a national college of higher education, but this was followed by discussions about closure. The situation improved markedly when a new university building, the Academiegebouw, was constructed in 1850. This made the fire completely destroyed this building in 1906 even more poignant. In the meantime, the Higher Education Act of 1876 had radically improved the position of the University, teaching now took place in Dutch as well as in Latin and the University was given a research as well as an educational duty. This laid the foundations for the present research university, the University of Groningen developed apace during the first decades of the twentieth century. The number of faculties and courses grew steadily while the number of students showed an explosive growth, when the University celebrated its first 300 years in 1914 there were 611 registered students, this had already grown to 1000 by 1924. After a drop back during the Depression, and in particular during the Second World War, in 2016 the Dutch chemist Ben Feringa, who worked most of his career at the university, won the Nobel prize for his work on molecular motors. Other strong research groups are in, Nanoscience, Physics, Molecular Biology, Microbiology, Medical Sciences, Neurosciences, Sociology, Philosophy, Theology, Archaeology and Arts. Every year more than 5,000 research publications go to print, the University of Groningen is a member of the so-called Excellence Group of the best universities in Europe. The Excellence Group has 56 members, which is 1.3 percent of the approximately 4,500 European institutions of higher education, the University of Groningen belongs to the top 100 large comprehensive research universities in the world
University of Groningen
–
Front of the main building ('Academiegebouw') of the University of Groningen
University of Groningen
–
University of Groningen
University of Groningen
–
The Senate room in the Academy Building
University of Groningen
–
Bernoulliborg
33.
New York Times
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The New York Times is an American daily newspaper, founded and continuously published in New York City since September 18,1851, by The New York Times Company. The New York Times has won 119 Pulitzer Prizes, more than any other newspaper, the papers print version in 2013 had the second-largest circulation, behind The Wall Street Journal, and the largest circulation among the metropolitan newspapers in the US. The New York Times is ranked 18th in the world by circulation, following industry trends, its weekday circulation had fallen in 2009 to fewer than one million. Nicknamed The Gray Lady, The New York Times has long been regarded within the industry as a newspaper of record. The New York Times international version, formerly the International Herald Tribune, is now called the New York Times International Edition, the papers motto, All the News Thats Fit to Print, appears in the upper left-hand corner of the front page. On Sunday, The New York Times is supplemented by the Sunday Review, The New York Times Book Review, The New York Times Magazine and T, some other early investors of the company were Edwin B. Morgan and Edward B. We do not believe that everything in Society is either right or exactly wrong, —what is good we desire to preserve and improve, —what is evil, to exterminate. In 1852, the started a western division, The Times of California that arrived whenever a mail boat got to California. However, when local California newspapers came into prominence, the effort failed, the newspaper shortened its name to The New-York Times in 1857. It dropped the hyphen in the city name in the 1890s, One of the earliest public controversies it was involved with was the Mortara Affair, the subject of twenty editorials it published alone. At Newspaper Row, across from City Hall, Henry Raymond, owner and editor of The New York Times, averted the rioters with Gatling guns, in 1869, Raymond died, and George Jones took over as publisher. Tweed offered The New York Times five million dollars to not publish the story, in the 1880s, The New York Times transitioned gradually from editorially supporting Republican Party candidates to becoming more politically independent and analytical. In 1884, the paper supported Democrat Grover Cleveland in his first presidential campaign, while this move cost The New York Times readership among its more progressive and Republican readers, the paper eventually regained most of its lost ground within a few years. However, the newspaper was financially crippled by the Panic of 1893, the paper slowly acquired a reputation for even-handedness and accurate modern reporting, especially by the 1890s under the guidance of Ochs. Under Ochs guidance, continuing and expanding upon the Henry Raymond tradition, The New York Times achieved international scope, circulation, in 1910, the first air delivery of The New York Times to Philadelphia began. The New York Times first trans-Atlantic delivery by air to London occurred in 1919 by dirigible, airplane Edition was sent by plane to Chicago so it could be in the hands of Republican convention delegates by evening. In the 1940s, the extended its breadth and reach. The crossword began appearing regularly in 1942, and the section in 1946
New York Times
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Cover of The New York Times (November 15, 2012), with the headline story reporting on
Operation Pillar of Defense.
New York Times
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The Times Square Building, The New York Times ' publishing headquarters, 1913–2007
New York Times
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The New York Times newsroom, 1942
New York Times
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A speech in the newsroom after announcement of
Pulitzer Prize winners, 2009
34.
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
Virtual International Authority File
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Screenshot 2012
35.
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
Integrated Authority File
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GND screenshot
36.
Union List of Artist Names
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The Union List of Artist Names is an online database using a controlled vocabulary currently containing around 293,000 names and other information about artists. Names in ULAN may include names, pseudonyms, variant spellings, names in multiple languages. Among these names, one is flagged as the preferred name, the focus of each ULAN record is an artist. Currently there are around 120,000 artists in the ULAN, in the database, each artist record is identified by a unique numeric ID. Linked to each artist record are names, related artists, sources for the data, the temporal coverage of the ULAN ranges from Antiquity to the present and the scope is global. The ULAN includes proper names and associated information about artists, artists may be either individuals or groups of individuals working together. Artists in the ULAN generally represent creators involved in the conception or production of visual arts, repositories and some donors are included as well. Work on the ULAN began in 1984, when the Getty decided to merge, in 1987 the Getty created a department dedicated to compiling and distributing terminology. The ULAN grows and changes via contributions from the user community, although originally intended only for use by Getty projects, the broader art information community outside the Getty expressed a need to use ULAN for cataloging and retrieval. Its scope was broadened to include corporate bodies such as firms and repositories of art. The ULAN was founded under the management of Eleanor Fink, the ULAN has been constructed over the years by numerous members of the user community and an army of dedicated editors, under the supervision of several managers. The ULAN was published in 1994 in hardcopy and machine-readable files, given the growing size and frequency of changes and additions to the ULAN, by 1997 it had become evident that hard-copy publication was impractical. It is now published in automated formats only, in both a searchable online Web interface and in data files available for licensing, final editorial control of the ULAN is maintained by the Getty Vocabulary Program, using well-established editorial rules. The current managers of the ULAN are Patricia Harpring, Managing Editor, entities in the Person facet typically have no children. Entities in the Corporate Body facet may branch into trees, there may be multiple broader contexts, making the ULAN structure polyhierarchical. In addition to the relationships, the ULAN also has equivalent. Contributors to the Getty Vocabularies and implementers of the licensed vocabulary data may consult these guidelines as well
Union List of Artist Names
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Contents
37.
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
Netherlands Institute for Art History
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As the logos on the window show, the RKD shares the same building located at
Den Haag Centraal with the National Archives, the Nederlands Letterkundig Museum (nl) (LM), the
Huygens ING, the
Netherlands Music Institute (NMI) and the
Koninklijke Bibliotheek.
