1.
Alvin Langdon Coburn
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Alvin Langdon Coburn was an early 20th-century photographer who became a key figure in the development of American pictorialism. He became the first major photographer to emphasize the potential of elevated viewpoints. Coburn was born on June 11,1882, at 134 East Springfield Street in Boston, Massachusetts and his father, who had established the successful firm of Coburn & Whitman Shirts, died when Alvin was seven. After that he was raised solely by his mother, Fannie, in his autobiography, Coburn wrote, My mother was a remarkable woman of very strong character who tried to dominate my life…It was a battle royal all the days of our life together. In 1890 the family visited his uncles in Los Angeles. He immediately fell in love with the camera, and within a few years he had developed a talent for both visual composition and technical proficiency in the darkroom. When he was sixteen years old, in 1898, he met his cousin F. Holland Day, Day recognized Coburn’s talent and both mentored him and encouraged him to take up photography as a career. At the end of 1899 his mother and he moved to London, Day had been invited by the Royal Photographic Society to select prints from the best American photographers for an exhibition in London. He brought more than a hundred photographs with him, including nine by Coburn – who at time was only 17 years old. With the help of his cousin Coburn’s career took a giant first step, Coburn’s prints at the Royal Photographic Society attracted the attention of another important photographer, Frederick H. Evans. Evans was one of the founders of the Linked Ring, an association of photographers which was considered at that time to be the highest authority for photographic aesthetics. In the summer of 1900 Coburn was invited to exhibit with them, in 1901 Coburn lived in Paris for a few months so he could study with photographer Edward Steichen and Robert Demachy. He and his mother then toured France, Switzerland and Germany for the remainder of the year, when they returned to America in 1902, Coburn began studying with famed photographer Gertrude Käsebier in New York. He opened a studio on Fifth Avenue but spent much of his time that year studying with Arthur Wesley Dow at his School of Art in Massachusetts. At the same time, his continued to promote her son whenever she could. Stieglitz once told an interviewer, Fannie Coburn devoted much energy trying to convince both Day and me that Alvin was a greater photographer than Steichen. The following year Coburn was elected as an Associate of The Linked Ring, making him one of the youngest members of that group and one of only a few Americans to be so honored. In May he was given his first one-man show at the Camera Club of New York, and in July Stieglitz published one of his gravures in Camera Work, No.3
Alvin Langdon Coburn
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Self-portrait, 1905
Alvin Langdon Coburn
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"Spider-webs", by Alvin Langdon Coburn. Photogravure published in
Camera Work, No 21, 1908
Alvin Langdon Coburn
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"
Bernard Shaw ", by Alvin Langdon Coburn. Photogravure published in
Camera Work, No 21, 1908
Alvin Langdon Coburn
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"
Rodin ", by Alvin Langdon Coburn. Photogravure published in
Camera Work, No 21, 1908
2.
Nord (French department)
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Nord is a department in the far north of France. It was created from the halves of the historical counties of Flanders and Hainaut. The modern coat of arms was inherited from the County of Flanders, Nord is the countrys most populous department. It also contains the region of Lille, the fifth-largest urban area in France after Paris, Lyon, Marseille. Within the department is located the part of France where the French Flemish dialect of Dutch is still spoken as a native language, tribes of the Belgae, such as the Menapii and Nervii were the first peoples recorded in the area later known as Nord. In effect, the area known later as Nord became an isogloss between the Germanic and Romance languages and this has remained evident in the place names of the region. After the the County of Flanders became part of France in the 9th century, during the 14th Century, much of the area came under the control of the Duchy of Burgundy and in subsequent centuries was therefore part of the Habsburg Netherlands and the Spanish Netherlands. Areas that later constituted Nord were ceded to France by treaties in 1659,1668, and 1678, becoming the Counties of Flanders and Hainaut, on 4 March 1790, during the French Revolution, Nord became one of the original 83 departments created to replace the counties. Nord is part of the current Hauts-de-France region and is surrounded by the French departments of Pas-de-Calais and Aisne, as well as by Belgium, situated in the north of the country along the western half of the Belgian frontier, the department is unusually long and narrow. Other important cities are Valenciennes, Douai, and Dunkirk. The principal rivers are the following, Yser, Lys, Escaut, Scarpe, Sambre Nord is the most heavily populated department, with a population of 2,617,939, the President of the Departmental Council is the unaffiliated right-winger Jean-René Lecerf. The first President of the Fifth Republic, General Charles de Gaulle, was born in Lille in the department on 22 November 1890, until recently, the department was dominated economically by coal mining, which extended through the heart of the department from neighbouring Artois into central Belgium
Nord (French department)
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Prefecture building of the Nord department, in Lille
Nord (French department)
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The old stock exchange of
Lille
Nord (French department)
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Saint-Winoc Abbey in
Bergues
Nord (French department)
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Belfry of
Douai
3.
Nice
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Nice is the fifth most populous city in France and the capital of the Alpes-Maritimes département. The urban area of Nice extends beyond the city limits. Nice is about 13 kilometres from the principality of Monaco, the city is nicknamed Nice la Belle, which means Nice the Beautiful, which is also the title of the unofficial anthem of Nice, written by Menica Rondelly in 1912. The area of todays Nice contains Terra Amata, a site which displays evidence of a very early use of fire. Around 350 BC, Greeks of Marseille founded a permanent settlement and called it Nikaia, after Nike, through the ages, the town has changed hands many times. Its strategic location and port significantly contributed to its maritime strength, for centuries it was a dominion of Savoy, and was then part of France between 1792 and 1815, when it was returned to Piedmont-Sardinia until its re-annexation by France in 1860. The citys main seaside promenade, the Promenade des Anglais owes its name to visitors to the resort, for decades now, the picturesque Nicean surroundings have attracted not only those in search of relaxation, but also those seeking inspiration. The clear air and soft light have particularly appealed to some of Western cultures most outstanding painters, such as Marc Chagall, Henri Matisse, Niki de Saint Phalle and Arman. Their work is commemorated in many of the museums, including Musée Marc Chagall, Musée Matisse. Nice has the second largest hotel capacity in the country and it is one of its most visited cities and it also has the third busiest airport in France, after the two main Parisian ones. It is the capital city of the County of Nice. Nice was probably founded around 350 BC by the Greeks of Massalia, the ruins of Cemenelum are in Cimiez, now a district of Nice. In the 7th century, Nice joined the Genoese League formed by the towns of Liguria. In 729 the city repulsed the Saracens, but in 859 and again in 880 the Saracens pillaged and burned it, during the Middle Ages, Nice participated in the wars and history of Italy. As an ally of Pisa it was the enemy of Genoa, during the 13th and 14th centuries the city fell more than once into the hands of the Counts of Provence, but it regained its independence even though related to Genoa. The medieval city walls surrounded the Old Town, the landward side was protected by the River Paillon, which was later covered over and is now the tram route towards the Acropolis. The east side of the town was protected by fortifications on Castle Hill, another river flowed into the port on the east side of Castle Hill. Engravings suggest that the area was also defended by walls
Nice
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Nice Port
Nice
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Nice in the time of the
Roman Empire.
Nice
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The Tower of Saint François
Nice
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Nice in 1624
4.
Alpes-Maritimes
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Alpes-Maritimes is a department of the Provence-Alpes-Côte dAzur region in the extreme southeast corner of France. The inhabitants of the department are called Maralpins, but are referred to as Azuréens. The Alpes-Maritimes department is surrounded by the departments of Var in the southwest, Alpes-de-Haute-Provence in the north-west, Italy, and it surrounds the Principality of Monaco on the west, north, and east. The highest point of the department is the Cime du Gélas on the Franco-Italian border which dominates the Vallée des Merveilles further east, in fact the summit of Monte Argentera is certainly higher at 3297 m above sea level but it is located in Italian territory. There is also Mount Mounier which dominates the south of the vast Dôme de Barrot which is formed of a mass of more than 900 m thick red mudstones deeply indented by the gorges of Daluis and Cians. Except in winter, four passes allow passage to the north of the Mercantour/Argentera mountain range whose imposing 62 km long barrier covered in snow which is visible from the coast. From the west the Route des Grandes Alpes enters the Cayolle Pass first on the way to the Alps, then the route follows the Col de la Bonette - the highest pass in Europe at 2715 m - to connect to the valley of the Tinée then the Ubaye. Further east, the Lombard pass above Isola 2000 allows access to the shrine of Saint-Anne de Vinadio in Italy, finally, at its eastern end, the Col de Tende links with Cuneo in Italy. The rivers in order are, It is the climate that made the Côte dAzur famous. The coastal area has a Mediterranean climate, towards the interior, especially in the north, a mountain climate. One of the attractions of the department is its level of sunshine,300 days per year, despite this the department is also the most stormy of France with an average of 70 to 110 thunderstorm days per year. Alpes-Maritimes is divided into 2 arrondissements, the Grasse and the Nice,27 cantons and 163 communes, in 2002 there were 14 intercommunalities. At its greatest extent in AD297, the province reached north to Digne, a first French département of Alpes-Maritimes existed in the same area from 1793 to 1814. Its boundaries differed from those of the department, however. In 1793 Alpes-Maritimes included Monaco and San Remo, but not Grasse which was part of the départment of Var. Sanremo, cantons, Sanremo, Bordighera, Dolceacqua, Pigna, Taggia, Triora, Puget-Théniers, cantons, Puget-Théniers, Beuil, Gilette, Guillaumes, Roquesteron, Saint-Étienne-de-Tinée and Villars-sur-Var. Its population in 1812 was 131,266, and its area was 322,674 hectares, the department was reconstituted in 1860 when the county of Nice was annexed by France. It included the county of Nice as well as the independent towns of Menton and Roquebrune
Alpes-Maritimes
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Nice & Côte d'Azur
Alpes-Maritimes
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Sign welcoming visitors to Alpes-Maritimes.
Alpes-Maritimes
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Belvédère in the Vesubie valley, one of the many villages perched in the Alpes-Maritime.
Alpes-Maritimes
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Geography of the Department of Alpes-Maritimes
5.
William-Adolphe Bouguereau
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William-Adolphe Bouguereau was a French academic painter and traditionalist. In his realistic genre paintings he used mythological themes, making modern interpretations of classical subjects, during his life he enjoyed significant popularity in France and the United States, was given numerous official honors, and received top prices for his work. As the quintessential salon painter of his generation, he was reviled by the Impressionist avant-garde, by the early twentieth century, Bouguereau and his art fell out of favor with the public, due in part to changing tastes. In the 1980s, a revival of interest in figure painting led to a rediscovery of Bouguereau, throughout the course of his life, Bouguereau executed 822 known finished paintings, although the whereabouts of many are still unknown. William-Adolphe Bouguereau was born in La Rochelle, France, on November 30,1825, into a family of wine, the son of Théodore Bouguereau and Marie Bonnin, known as Adeline, William was brought up a Catholic. He had a brother, Alfred, and a younger sister, Marie. The family moved to Saint-Martin-de-Ré in 1832, another sibling was born in 1834, Kitty. At 12 the boy went to Mortagne to stay with his uncle Eugène, a priest, in 1839 he was sent to study the priesthood at a Catholic college in Pons. Here he was taught to draw and paint by Louis Sage who had studied under Ingres, William reluctantly left his studies to return to his family, now residing in Bordeaux. Here the boy met a local artist, Charles Marionneau, William also worked as a shop assistant, hand-colouring lithographs and making small paintings that were reproduced using chromolithography. He was soon the best pupil in his class and decided to become an artist in Paris, to fund the move, he sold portraits -33 oils in three months. All were unsigned and only one has been traced and he arrived in Paris aged 20 in March 1846. Bouguereau became a student at the École des Beaux-Arts, to supplement his formal training in drawing, he attended anatomical dissections and studied historical costumes and archeology. He was admitted to the studio of François-Édouard Picot, where he studied painting in the academic style and he also studied classical literature, which influenced his subject choice for the rest of his career. In April 1848 the young artist entered the Prix de Rome contest, soon after work began there were riots in Paris and Bouguereau enrolled in the National Guard. After an unsuccessful attempt to win the prize, he entered again in 1849, following 106 days of competition he again failed to win. His third attempt commenced in April 1850 and five months later he heard he had won a joint first prize, along with other category winners, William set off for Rome in December and finally arrived at the Villa Medici in January 1851. He explored the city, making sketches and watercolours as he went and he walked to Naples and on to Capri, Amalfi and Pompeii
William-Adolphe Bouguereau
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Portrait of the Artist (1879)
William-Adolphe Bouguereau
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Égalité devant la mort (Equality Before Death), 1848, oil on canvas, 141 × 269 cm (55.5 × 105.9 in),
Musée d'Orsay, Paris. Equality is Bouguereau's first major painting, produced after two years at the École des Beaux-Arts de Paris at the age of 23.
William-Adolphe Bouguereau
–
The Wave (1896)
William-Adolphe Bouguereau
–
The Birth of Venus (1879)
6.
Gustave Moreau
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Gustave Moreau was a major figure in French Symbolist painting whose main emphasis was the illustration of biblical and mythological figures. As a painter, Moreau appealed to the imaginations of some Symbolist writers and he is recognized for his works that are influenced by the Italian Renaissance and exoticism. His art work was preserved in Paris at the Musée Gustave Moreau and he was born in Paris, France, at 6 Rue des Saints-Peres. He came from a middle class family and his father, Louis Jean Marie Moreau, was an architect for the city of Paris and his mother, nee Adele Pauline Desmoutier, was an accomplished musician. Gustave Moreau lived a sheltered life growing up, having visited Italy at age 15 he began his love for art. At age 18 he was to art at Ecole des Beaux-Arts under the guidance of François-Édouard Picot. He then began to study art under his new mentor Théodore Chassériau, Moreau participated in the Salon for the first time in 1852. Moreau had a 25-year personal, possibly romantic relationship, with Adelaide-Alexandrine Dureux and his first painting was a Pietà which is now located in the cathedral at Angoulême. He showed A Scene from the Song of Songs and The Death of Darius in the Salon of 1853, in 1853, he contributed Athenians with the Minotaur and Moses Putting Off his Sandals within Sight of the Promised Land to the Great Exhibition. Oedipus and the Sphinx, one of his first symbolist paintings, was exhibited at the Salon of 1864, Moreau quickly gained a reputation for eccentricity. One commentator said Moreaus work was like a pastiche of Mantegna created by a German student who relaxes from his painting by reading Schopenhauer, the painting currently resides in the permanent collection at the New York Metropolitan Museum of Art. On March 28,1890, Alexandrine Dureux died and her death affected Moreau greatly, and his work after this point contained a more melancholic edge. She was buried at the cemetery that Moreau himself would be laid to rest. Moreau became a professor at Paris École des Beaux-Arts in October 1891, among his many students were fauvist painters Henri Matisse and Georges Rouault. Jules Flandrin, Theodor Pallady and Léon Printemps also studied with Moreau, Moreau died of stomach cancer and was buried at the Cimetière de Montmartre in Paris in his parents tomb. During his lifetime, Moreau produced more than 8,000 paintings, watercolors and drawings, the museum is in his former workshop, and began operation in 1903. André Breton famously used to haunt the museum and regarded Moreau as a precursor of Surrealism and his work influenced the next generation of Symbolists, particularly Odilon Redon and Jean Delville, a leading figure in Belgian Symbolism in the early part of the twentieth century. The death of Chasseriau in 1856 caused Moreau to enter a state of gloominess and he stopped painting and withdrew himself from the public
Gustave Moreau
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Self-portrait of Gustave Moreau, 1850
Gustave Moreau
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Oedipus and the Sphinx (1864)
Gustave Moreau
–
Jason and Medea, (1865)
Gustave Moreau
–
Orpheus (1865)
7.
Printmaking
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Printmaking is the process of making artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints that have an element of originality, except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each print produced is not considered a copy but rather is considered an original, a print may be known as an impression. Printmaking is not chosen only for its ability to multiple impressions. Prints are created by transferring ink from a matrix or through a screen to a sheet of paper or other material. Screens made of silk or synthetic fabrics are used for the screenprinting process, other types of matrix substrates and related processes are discussed below. Multiple impressions printed from the matrix form an edition. Prints may also be printed in book form, such as illustrated books or artists books, Printmaking techniques are generally divided into the following basic categories, Relief, where ink is applied to the original surface of the matrix. Relief techniques include woodcut or woodblock as the Asian forms are known, wood engraving. Intaglio, where ink is applied beneath the surface of the matrix. Intaglio techniques include engraving, etching, mezzotint, aquatint, planographic, where the matrix retains its original surface, but is specially prepared and/or inked to allow for the transfer of the image. Planographic techniques include lithography, monotyping, and digital techniques, stencil, where ink or paint is pressed through a prepared screen, including screenprinting and pochoir. Other types of printmaking techniques outside these groups include collagraphy and viscosity printing, collagraphy is a printmaking technique in which textured material is adhered to the printing matrix. This texture is transferred to the paper during the printing process, Contemporary printmaking may include digital printing, photographic mediums, or a combination of digital, photographic, and traditional processes. Many of these techniques can also be combined, especially within the same family, for example, Rembrandts prints are usually referred to as etchings for convenience, but very often include work in engraving and drypoint as well, and sometimes have no etching at all. Woodcut, a type of print, is the earliest printmaking technique. It was probably first developed as a means of printing patterns on cloth, woodcuts of images on paper developed around 1400 in Japan, and slightly later in Europe. These are the two areas where woodcut has been most extensively used purely as a process for making images without text, the artist draws a design on a plank of wood, or on paper which is transferred to the wood
Printmaking
–
Rembrandt,
Self-portrait,
etching, c.1630.
Printmaking
–
Mount Fuji, from the
Thirty-six Views of Mount Fuji, color
woodcut by
Katsushika Hokusai
Printmaking
–
Francisco Goya, There is No One To Help Them,
Disasters of War series,
aquatint c.1810.
Printmaking
–
External video
8.
Collage
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Collage is a technique of an art production, primarily used in the visual arts, where the artwork is made from an assemblage of different forms, thus creating a new whole. The origins of collage can be traced back hundreds of years, the term collage was coined by both Georges Braque and Pablo Picasso in the beginning of the 20th century when collage became a distinctive part of modern art. Techniques of collage were first used at the time of the invention of paper in China, around 200 BC. The use of collage, however, wasnt used by many people until the 10th century in Japan, when began to apply glued paper, using texts on surfaces. The technique of collage appeared in medieval Europe during the 13th century, gold leaf panels started to be applied in Gothic cathedrals around the 15th and 16th centuries. Gemstones and other metals were applied to religious images, icons. An 18th-century example of art can be found in the work of Mary Delany. In the 19th century, collage methods also were used among hobbyists for memorabilia, the exhibition later traveled to The Metropolitan Museum of Art and The Art Gallery of Ontario. For example, the Tate Gallerys online art glossary states that collage was first used as a technique in the twentieth century. The glued-on patches which Braque and Picasso added to their canvases offered a new perspective on painting when the patches collided with the plane of the painting. Collage in the modernist sense began with Cubist painters Georges Braque, according to some sources, Picasso was the first to use the collage technique in oil paintings. According to the Guggenheim Museums online article about collage, Braque took up the concept of collage itself before Picasso, applying it to charcoal drawings. Picasso adopted collage immediately after, It was Braque who purchased a roll of simulated oak-grain wallpaper and began cutting out pieces of the paper, Picasso immediately began to make his own experiments in the new medium. In 1912 for his Still Life with Chair Caning, Picasso pasted a patch of oilcloth with a design onto the canvas of the piece. Surrealist artists have made use of collage. Cubomania is a made by cutting an image into squares which are then reassembled automatically or at random. Collages produced using a similar, or perhaps identical, method are called etrécissements by Marcel Mariën from a method first explored by Mariën, surrealist games such as parallel collage use collective techniques of collage making. Many of these artists used techniques in their work
Collage
–
Kurt Schwitters, Das Undbild, 1919, Staatsgalerie Stuttgart
Collage
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Hannah Höch, Cut with the Dada Kitchen Knife through the Last Weimar Beer-Belly Cultural Epoch in Germany, 1919, collage of pasted papers, 90x144 cm, Staatliche Museum,
Berlin.
Collage
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Pablo Picasso, 1913-14, Head (Tête), cut and pasted colored paper, gouache and charcoal on paperboard, 43.5 x 33 cm,
Scottish National Gallery of Modern Art, Edinburgh
Collage
–
What may be called wood collage is the dominant feature in this 1964
mixed media painting by
Jane Frank (1918–1986)
9.
Woman with a Hat
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Woman with a Hat is a painting by Henri Matisse. An oil on canvas, it depicts Matisses wife, Amelie and it was painted in 1905 and exhibited at the Salon dAutomne during the fall of the same year, along with works by André Derain, Maurice de Vlaminck and several other artists known as Fauves. Critic Louis Vauxcelles, in comparing the paintings of Matisse and his associates with a Renaissance-type sculpture that shared the room with them and his comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, and passed into popular usage. Woman with a Hat was at the center of the controversy led to the term Fauvism. It was also a painting that marked a shift in the work of Matisse from the Divisionist brushstrokes of his earlier work to a more expressive style. Its loose brushwork and unfinished quality shocking viewers as much as its vivid, although the Fauve works on display were condemned by many—A pot of paint has been flung in the face of the public, declared the critic Camille Mauclair—they also gained some favorable attention. Sarah Stein, the wife of Gertrude and Leos elder brother Michael, claimed to have been the purchaser of this painting. One can see it in photographs of Sarah and Michaels home on Rue Madame and it was a centerpiece in Sarahs home in Palo Alto, California for many years. During the 1950s, in San Francisco, it was bought by the Haas family, in 1990 Elise S. Haas bequeathed thirty-seven paintings, sculptures and works on paper to the San Francisco Museum of Modern Art, among them Femme au chapeau. Femme au Chapeau by Jean Metzinger Salon dAutomne Fauvism
Woman with a Hat
–
Woman with a Hat
10.
Le bonheur de vivre
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Le bonheur de vivre is a painting by Henri Matisse. Along with Picassos Les Demoiselles dAvignon, Le bonheur de vivre is regarded as one of the pillars of early modernism, the monumental canvas was first exhibited at the Salon des Indépendants of 1906, where its cadmium colors and spatial distortions caused a public expression of protest and outrage. In the central background of the piece is a group of figures that is similar to the group depicted in his painting The Dance, in the picture, there are several nude bodies of women and men in a landscape drenched with vivid color. Le bonheur de vivre features a large amount of cadmium sulfide-based yellow, portions of the painting containing cadmium sulfide are turning white or brown, degrading the work. University of Delaware Prof. Robert L, “It is a very disheartening phenomenon, considering the painting’s position in history, ” says Opila, professor of materials science at UD. Also, the presence of chloride in the paint appears to be acting as a catalyst for the deterioration, Opila and his research team theorize that the binder, an oil similar to linseed oil, may be turning brown. Barnes Foundation, Le Bonheur de vivre Photo-oxidative degradation of yellow pigments in Matisse’s Le Bonheur de Vivre, a comparison of XANES, XPS, Raman, and FTIR methodologies. Cadmium yellow degradation mechanisms in Henri Matisse’s Le Bonheur de vivre compared to the Munch Museum’s The Scream using chemical speciation as a function of depth, Jennifer L. Mass, et al
Le bonheur de vivre
–
Le bonheur de vivre
11.
Dance (Matisse)
–
Dance refers to either of two related paintings made by Henri Matisse between 1909 and 1910. The first, preliminary version is Matisses study for the second version, the composition or arrangement of dancing figures is reminiscent of Blakes watercolour Oberon, Titania and Puck with fairies dancing from 1786. In March 1909, Matisse painted a version of this work. It was a study and uses paler colors and less detail. The painting was regarded by the artist who once called it the overpowering climax of luminosity. It was donated by Nelson A. Rockefeller in honor of Alfred H. Barr, Dance, is a large decorative panel, painted with a companion piece, Music, specifically for the Russian businessman and art collector Sergei Shchukin, with whom Matisse had a long association. Until the October Revolution of 1917, this painting hung together with Music on the staircase of Shchukins Moscow mansion, the painting shows five dancing figures, painted in a strong red, set against a very simplified green landscape and deep blue sky. The painting is associated with the Dance of the Young Girls from Igor Stravinskys famous musical work The Rite of Spring. Dance is commonly recognized as a key point of career and in the development of modern painting and it generally resides in the Hermitage Museum in St. Petersburg, but was loaned to Hermitage Amsterdam for a period of six weeks from April 1 to May 9,2010
Dance (Matisse)
–
Dance (I)
Dance (Matisse)
–
Dance
12.
Fauvism
–
While Fauvism as a style began around 1900 and continued beyond 1910, the movement as such lasted only a few years, 1904–1908, and had three exhibitions. The leaders of the movement were Henri Matisse and André Derain, the paintings of the Fauves were characterized by seemingly wild brush work and strident colors, while their subject matter had a high degree of simplification and abstraction. Fauvism can be classified as a development of Van Goghs Post-Impressionism fused with the pointillism of Seurat and other Neo-Impressionist painters. Other key influences were Paul Cézanne and Paul Gauguin, whose employment of areas of saturated color—notably in paintings from Tahiti—strongly influenced Derains work at Collioure in 1905, in 1888 Gauguin had said to Paul Sérusier, How do you see these trees. So, put in yellow, this shadow, rather blue, paint it with pure ultramarine, Fauvism can also be seen as a mode of Expressionism. Moreaus broad-mindedness, originality and affirmation of the potency of pure color was inspirational for his students. Matisse said of him, He did not set us on the right roads and this source of empathy was taken away with Moreaus death in 1898, but the artists discovered other catalysts for their development. In 1896, Matisse, then an art student, visited the artist John Peter Russell on the island of Belle Île off the coast of Brittany. The next year he returned as Russells student and abandoned his earth-colored palette for bright Impressionist colors, later stating, Russell was my teacher, Russell had been a close friend of Vincent van Gogh and gave Matisse a Van Gogh drawing. In parallel with the discovery of contemporary avant-garde art came an appreciation of pre-Renaissance French art. Another aesthetic influence was African sculpture, of which Vlaminck, Derain, many of the Fauve characteristics first cohered in Matisses painting, Luxe, Calme et Volupté, which he painted in the summer of 1904, whilst in Saint-Tropez with Paul Signac and Henri-Edmond Cross. The artists shared their first exhibition at the 1905 Salon dAutomne, Henri Rousseau was not a Fauve, but his large jungle scene The Hungry Lion Throws Itself on the Antelope was exhibited near Matisses work and may have had an influence on the pejorative used. Vauxcelles comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, the pictures gained considerable condemnation—A pot of paint has been flung in the face of the public, wrote the critic Camille Mauclair —but also some favorable attention. Matisses Neo-Impressionist landscape, Luxe, Calme et Volupté, had already exhibited at the Salon des Indépendants in the spring of 1905. Art history History of painting Neo-Fauvism Visual arts Western painting Gerdts, the Color of Modernism, The American Fauves. Spivey, Virginia, Fauvism, Smarthistory at Khan Academy Whitfield, Fauve Painting from the Permanent Collection at the National Gallery of Art Fauvism, The Wild Beasts of Early Twentieth Century Art Rewald, Sabine. New York, The Metropolitan Museum of Art Gelett Burgess, The Wild Men of Paris, Matisse, Picasso and Les Fauves,1910
Fauvism
–
Henri Matisse, Portrait of Madame Matisse (The
Green Stripe), 1906,
Statens Museum for Kunst,
Copenhagen, Denmark
Fauvism
–
Press clipping, Les Fauves: Exhibition at the
Salon d'Automne, in L'Illustration, 4 November 1905
Fauvism
–
Henri Matisse.
Woman with a Hat, 1905.
San Francisco Museum of Modern Art.
Fauvism
–
Henri Matisse,
Luxe, Calme et Volupté, 1904, oil on canvas, 98 x 118.5 cm,
Musée d'Orsay, Paris, France
13.
Modernism
–
Among the factors that shaped modernism were the development of modern industrial societies and the rapid growth of cities, followed then by reactions of horror to World War I. Modernism also rejected the certainty of Enlightenment thinking, and many modernists rejected religious belief, the poet Ezra Pounds 1934 injunction to Make it new. Was the touchstone of the approach towards what it saw as the now obsolete culture of the past. In this spirit, its innovations, like the novel, atonal and twelve-tone music, divisionist painting and abstract art. Modernism explicitly rejected the ideology of realism and makes use of the works of the past by the employment of reprise, incorporation, rewriting, recapitulation, revision, others focus on modernism as an aesthetic introspection. While J. M. W. Art critic Clement Greenberg describes the Pre-Raphaelite Brotherhood as proto-Modernists, There the proto-Modernists were, of all people, the Pre-Raphaelites actually foreshadowed Manet, with whom Modernist painting most definitely begins. They acted on a dissatisfaction with painting as practiced in their time, rationalism has also had opponents in the philosophers Søren Kierkegaard and later Friedrich Nietzsche, both of whom had significant influence on existentialism. A major 19th-century engineering achievement was The Crystal Palace, the huge cast-iron, Glass and iron were used in a similar monumental style in the construction of major railway terminals in London, such as Paddington Station and Kings Cross Station. These technological advances led to the building of structures like the Brooklyn Bridge. The latter broke all previous limitations on how tall man-made objects could be and these engineering marvels radically altered the 19th-century urban environment and the daily lives of people. Arguments arose that the values of the artist and those of society were not merely different, but that Society was antithetical to Progress, the philosopher Schopenhauer called into question the previous optimism, and his ideas had an important influence on later thinkers, including Nietzsche. Darwins theory of evolution by natural selection undermined religious certainty and the idea of human uniqueness, in particular, the notion that human beings were driven by the same impulses as lower animals proved to be difficult to reconcile with the idea of an ennobling spirituality. Karl Marx argued that there were fundamental contradictions within the capitalist system, historians, and writers in different disciplines, have suggested various dates as starting points for modernism. Everdell also thinks modernism in painting began in 1885–86 with Seurats Divisionism, the poet Baudelaires Les Fleurs du mal, and Flauberts novel Madame Bovary were both published in 1857. In the arts and letters, two important approaches developed separately in France, the first was Impressionism, a school of painting that initially focused on work done, not in studios, but outdoors. Impressionist paintings demonstrated that human beings do not see objects, the school gathered adherents despite internal divisions among its leading practitioners, and became increasingly influential. A significant event of 1863 was the Salon des Refusés, created by Emperor Napoleon III to display all of the paintings rejected by the Paris Salon. While most were in standard styles, but by artists, the work of Manet attracted tremendous attention
Modernism
Modernism
–
Eugène Delacroix 's
Liberty Leading the People, 1830, a
Romantic work of art
Modernism
–
A
Realist portrait of
Otto von Bismarck
Modernism
–
Odilon Redon, Guardian Spirit of the Waters, 1878, charcoal on paper,
The Art Institute of Chicago
14.
Post-Impressionism
–
Post-Impressionism is a predominantly French art movement that developed roughly between 1886 and 1905, from the last Impressionist exhibition to the birth of Fauvism. Post-Impressionism emerged as a reaction against Impressionists concern for the depiction of light. The movement was led by Paul Cézanne, Paul Gauguin, Vincent van Gogh, the term Post-Impressionism was first used by art critic Roger Fry in 1906. Three weeks later, Roger Fry used the term again when he organized the 1910 exhibition, Manet, the Post-Impressionists were dissatisfied with what they felt was the triviality of subject matter and the loss of structure in Impressionist paintings, though they did not agree on the way forward. Georges Seurat and his followers concerned themselves with Pointillism, the use of tiny dots of colour. Paul Cézanne set out to restore a sense of order and structure to painting, to make of Impressionism something solid and durable and he achieved this by reducing objects to their basic shapes while retaining the saturated colours of Impressionism. The Impressionist Camille Pissarro experimented with Neo-Impressionist ideas between the mid-1880s and the early 1890s, Vincent van Gogh used colour and vibrant swirling brush strokes to convey his feelings and his state of mind. Although they often exhibited together, Post-Impressionist artists were not in agreement concerning a cohesive movement, yet, the abstract concerns of harmony and structural arrangement, in the work of all these artists, took precedence over naturalism. Artists such as Seurat adopted a scientific approach to colour. Younger painters during the early 20th century worked in geographically disparate regions and in various categories, such as Fauvism and Cubism. Most of the artists in Frys exhibition were younger than the Impressionists, Fry later explained, For purposes of convenience, it was necessary to give these artists a name, and I chose, as being the vaguest and most non-committal, the name of Post-Impressionism. This merely stated their position in time relatively to the Impressionist movement, john Rewald limited the scope to the years between 1886 and 1892 in his pioneering publication on Post-Impressionism, From Van Gogh to Gauguin. This volume would extend the period covered to other artistic movements derived from Impressionism, though confined to the late 19th, Rewald focused on such outstanding early Post-Impressionists active in France as van Gogh, Gauguin, Seurat, and Redon. Pont-Aven School, implying more than that the artists involved had been working for a while in Pont-Aven or elsewhere in Brittany. Symbolism, a highly welcomed by vanguard critics in 1891. Rewald wrote that the term Post-Impressionism is not a precise one. Convenient, when the term is by definition limited to French visual arts derived from Impressionism since 1886, rewalds approach to historical data was narrative rather than analytic, and beyond this point he believed it would be sufficient to let the sources speak for themselves. Rival terms like Modernism or Symbolism were never as easy to handle, for they covered literature, architecture and other arts as well, Symbolism, however, is considered to be a concept which emerged a century later in France, and implied an individual approach
Post-Impressionism
–
Henri Rousseau, The Centenary of Independence, 1892,
Getty Center, Los Angeles
Post-Impressionism
Post-Impressionism
–
Poster of the 1889 Exhibition of Paintings by the
Impressionist and
Synthetist Group, at Café des Arts, known as the
The Volpini Exhibition, 1889
Post-Impressionism
–
Henri de Toulouse-Lautrec, Portrait of
Émile Bernard, 1886,
Tate Gallery London
15.
Gertrude Stein
–
Gertrude Stein was an American novelist, poet, playwright, and art collector. Born in the Allegheny West neighborhood of Pittsburgh, Pennsylvania, and raised in Oakland, California, Stein moved to Paris in 1903, in 1933, Stein published a quasi-memoir of her Paris years, The Autobiography of Alice B. Toklas, written in the voice of her partner, Alice B. Toklas, an American-born member of the Parisian avant-garde, the book became a literary bestseller and vaulted Stein from the relative obscurity of the cult-literature scene into the limelight of mainstream attention. Her books include Q. E. D. about a romantic affair involving several of Steins female friends, Fernhurst, a fictional story about a romantic affair, Three Lives. In Tender Buttons, Stein commented on lesbian sexuality and her activities during World War II have been the subject of analysis and commentary. After the war ended, Stein expressed admiration for another Nazi collaborator, some have argued that certain accounts of Steins wartime activities have amounted to a witch hunt. Stein, the youngest of a family of five children, was born on February 3,1874, in Allegheny, Pennsylvania to upper-middle-class Jewish parents, Daniel and her father was a wealthy businessman with real estate holdings. German and English were spoken in their home, when Stein was three years old, she and her family moved to Vienna, and then Paris. Accompanied by governesses and tutors, the Steins endeavored to imbue their children with the sensibilities of European history. Stein attended First Hebrew Congregation of Oaklands Sabbath school, during their residence in Oakland, they lived for four years on a ten-acre lot, and Stein built many memories of California there. She would often go on excursions with her brother, Leo, Stein found formal schooling in Oakland unstimulating, but she read often, Shakespeare, Wordsworth, Scott, Burns, Smollett, Fielding, and more. When Stein was 14 years old, her mother died, Three years later, her father died as well. Steins eldest brother, Michael Stein, then took over the family holdings and in 1892 arranged for Gertrude and another sister, Bertha. Here she lived with her uncle David Bachrach, who in 1877 had married Gertrudes maternal aunt, in Baltimore, Stein met Claribel and Etta Cone, who held Saturday evening salons that she would later emulate in Paris. The Cones shared an appreciation for art and conversation about it, Stein attended Radcliffe College, then an annex of Harvard University, from 1893 to 1897 and was a student of psychologist William James. In 1934, behavioral psychologist B. F. Skinner interpreted Steins difficult poem Tender Buttons as an example of normal motor automatism. In a letter Stein wrote during the 1930s, she explained that she never accepted the theory of writing, here can be automatic movements
Gertrude Stein
–
Stein in 1935 photographed by
Carl Van Vechten
Gertrude Stein
–
Gertrude Stein's birthplace and childhood home in
Allegheny West
Gertrude Stein
–
Gertrude Stein, age 3
Gertrude Stein
–
Henri Matisse,
Woman with a Hat, 1905.
San Francisco Museum of Modern Art
16.
Etta Cone
–
The Cone sisters were Claribel Cone and Etta Cone of Baltimore, Maryland. Together they gathered one of the finest collections of modern French art in the United States and they were active as collectors, travelers, and bons vivants during the first decades of the 20th Century. Their parents were Herman Cone and Helen Cone, who were German-Jewish immigrants, until 1871 the family lived in Jonesboro, Tennessee, where they had a successful grocery business. This is where the first five of twelve children were born, including Claribel and they then moved to Baltimore, Maryland. The eldest Cone brothers, Moses and Ceasar, later relocated to Greensboro and they established a textile business they named Proximity Manufacturing Company. During World War I the textile mills that Brother Moses started would again increase their fortunes and they both graduated from Western Female High School. Claribel attended Womens Medical College of Baltimore and graduated in 1890, to become a physician, Etta was a pianist and managed the family household, more as an implementer of Dr Claribels ideas. They traveled extensively to Europe together almost yearly on long trips starting in 1901, the Cone sisters were friends of literary illuminati like Gertrude Stein and Alice B. Their social circle included Henri Matisse and Pablo Picasso and it was Etta who began purchasing art in 1898, when she was given $300 to decorate the family home by an older brother. Her start with five paintings by Theodore Robinson became a lifetime of collecting and her tastes at first tended toward the conservative, but one day in 1905, while the Cone sisters were on a European holiday, they visited the Steins in Paris. Etta was introduced to Picasso and then to Matisse the next year, Etta made small acquisitions to help up-and-coming artists like Matisse, Picasso, and at home, students of the Maryland Institute College of Art. She also bought at low prices from the Steins, who were perpetually in need of money and were known to get discarded drawings in Picassos studio for $2 or $3 apiece. Claribel, by contrast, purchased much more avant-garde works and she purchased Matisses Blue Nude and Paul Cézannes Mont Sainte-Victoire Seen From the Bibemus Quarry for their collection. Etta was much more conservative and commonly spent an average of 10,000 francs for a painting or a group of drawings, the Cone sisters had a special interest in Matisses Nice period. However, after Claribels death, Etta became more adventurous in her purchases, for instance, Gertrude Stein and her brother Leo Stein were orphaned and moved to Baltimore to live with an aunt. They soon became part of the Cone sisters social crowd, during Claribels time at the Womens Medical College of Johns Hopkins University, Gertrude was also studying there. There was a big age gap between Claribel and Gertrude and these unconventional women were drawn to each other, however, by their common interest in music, fine arts, and sociable conversations. Etta credited Leo for helping her develop an eye for modern art and she was awe struck by Gertrudes Bohemian lifestyle, and there are even hints that they were very likely lovers at some point
Etta Cone
–
Claribel Cone, Gertrude Stein, Etta Cone 1903
Etta Cone
–
Cone Sisters historical marker
17.
Claribel Cone
–
The Cone sisters were Claribel Cone and Etta Cone of Baltimore, Maryland. Together they gathered one of the finest collections of modern French art in the United States and they were active as collectors, travelers, and bons vivants during the first decades of the 20th Century. Their parents were Herman Cone and Helen Cone, who were German-Jewish immigrants, until 1871 the family lived in Jonesboro, Tennessee, where they had a successful grocery business. This is where the first five of twelve children were born, including Claribel and they then moved to Baltimore, Maryland. The eldest Cone brothers, Moses and Ceasar, later relocated to Greensboro and they established a textile business they named Proximity Manufacturing Company. During World War I the textile mills that Brother Moses started would again increase their fortunes and they both graduated from Western Female High School. Claribel attended Womens Medical College of Baltimore and graduated in 1890, to become a physician, Etta was a pianist and managed the family household, more as an implementer of Dr Claribels ideas. They traveled extensively to Europe together almost yearly on long trips starting in 1901, the Cone sisters were friends of literary illuminati like Gertrude Stein and Alice B. Their social circle included Henri Matisse and Pablo Picasso and it was Etta who began purchasing art in 1898, when she was given $300 to decorate the family home by an older brother. Her start with five paintings by Theodore Robinson became a lifetime of collecting and her tastes at first tended toward the conservative, but one day in 1905, while the Cone sisters were on a European holiday, they visited the Steins in Paris. Etta was introduced to Picasso and then to Matisse the next year, Etta made small acquisitions to help up-and-coming artists like Matisse, Picasso, and at home, students of the Maryland Institute College of Art. She also bought at low prices from the Steins, who were perpetually in need of money and were known to get discarded drawings in Picassos studio for $2 or $3 apiece. Claribel, by contrast, purchased much more avant-garde works and she purchased Matisses Blue Nude and Paul Cézannes Mont Sainte-Victoire Seen From the Bibemus Quarry for their collection. Etta was much more conservative and commonly spent an average of 10,000 francs for a painting or a group of drawings, the Cone sisters had a special interest in Matisses Nice period. However, after Claribels death, Etta became more adventurous in her purchases, for instance, Gertrude Stein and her brother Leo Stein were orphaned and moved to Baltimore to live with an aunt. They soon became part of the Cone sisters social crowd, during Claribels time at the Womens Medical College of Johns Hopkins University, Gertrude was also studying there. There was a big age gap between Claribel and Gertrude and these unconventional women were drawn to each other, however, by their common interest in music, fine arts, and sociable conversations. Etta credited Leo for helping her develop an eye for modern art and she was awe struck by Gertrudes Bohemian lifestyle, and there are even hints that they were very likely lovers at some point
Claribel Cone
–
Claribel Cone, Gertrude Stein, Etta Cone 1903
Claribel Cone
–
Cone Sisters historical marker
18.
Albert C. Barnes
–
Albert Coombs Barnes was an American physician, chemist, businessman, art collector, writer, and educator, and the founder of the Barnes Foundation in Lower Merion, Pennsylvania. Albert Barnes was born in Philadelphia to working-class parents and his father, a butcher, lost his right arm at the Battle of Cold Harbor during the American Civil War, and became a letter carrier after the war. Barnes mother was a devout Methodist who took him to African-American camp meetings, Albert Barnes earned a spot at the public academic Central High School in Philadelphia. There he became friends with William Glackens, who became an artist. Barnes went on to college and medical school at the University of Pennsylvania, earning his way by tutoring, boxing, by age 20, he was a medical doctor. He went into research as a chemist rather than clinical practice, in 1899, with a German chemist named Hermann Hille, Barnes developed a mild silver nitrate antiseptic solution. He formed a company and marketed the drug as Argyrol, a treatment for gonorrhea, the drug was an immediate financial success. To avoid having Argyrol being stolen by competitors, he convinced Hille not to patent it and he marketed directly to physicians, and took his product abroad. Within five years of starting the business in 1902, the firm cleared $250,000 in profits and he bought out Hille, and in 1907, Barnes had become a millionaire at the age of 35. In July 1929, he sold his business for a sum of $6 million. The move was timed, as he sold before the 1929 stock market crash and the discovery of antibiotics. After starting to earn income from the sale of Argyrol, Barnes married Laura Leggett, from a family in Brooklyn. Laura Barnes led the development of the Arboretum and horticultural program that are integral to the Barnes Foundation, in 1928, Barnes appointed her as director of the Arboretum. She founded the Arboretum School in 1940, where she taught as an instructor and she regularly corresponded and exchanged plant specimens with other major institutions, such as the Arnold Arboretum of Harvard University and the Brooklyn Botanic Garden. She succeeded her husband as president of the Foundation after his death in 1951 and she bequeathed her private art collection to the Brooklyn Museum of Art. Her work was recognized by the 1948 Schaffer Memorial Medal from the Pennsylvania Horticultural Society, in 1955, she became an honorary member of the American Society of Landscape Architects. She received a doctorate in horticultural science from St. Josephs University of Philadelphia. From about 1910, when he was in his late 30s, Barnes began to dedicate himself to the study and he commissioned one of his former high school classmates, the painter William Glackens, who had been living in Paris, to buy several modern French paintings for him
Albert C. Barnes
–
Albert C. Barnes in 1940
Albert C. Barnes
–
Henri Matisse,
Le bonheur de vivre (1905–6), oil on canvas.
Barnes Foundation, Philadelphia. It was called
Fauvist, bringing Matisse both public derision and notoriety.
Albert C. Barnes
–
Giorgio de Chirico, Portrait of Albert C. Barnes, 1926
19.
Drawing
–
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. A drawing instrument releases small amount of material onto a surface, the most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything, the medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas, the wide availability of drawing instruments makes drawing one of the most common artistic activities. In addition to its artistic forms, drawing is frequently used in commercial illustration, animation, architecture, engineering. A quick, freehand drawing, usually not intended as a work, is sometimes called a sketch. An artist who practices or works in technical drawing may be called a drafter, Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper/other material, traditional drawings were monochrome, or at least had little colour, while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks, dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a medium, applied with brushes or pens. Drawing is often exploratory, with emphasis on observation, problem-solving. Drawing is also used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies, there are several categories of drawing, including figure drawing, cartooning, doodling, free hand and shading. There are also many drawing methods, such as drawing, stippling, shading, the surrealist method of entopic graphomania. A quick, unrefined drawing may be called a sketch, in fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called drawings even when they have been transferred to another medium by printing. Drawing as a Form of Communication Drawing is one of the oldest forms of human expression and these drawings, known as pictograms, depicted objects and abstract concepts. The sketches and paintings produced in prehistoric times were eventually stylised and simplified, Drawing in the Arts Drawing is used to express ones creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise, initially, artists used and reused wooden tablets for the production of their drawings
Drawing
–
Pen and wash lion by
Rembrandt in the
Louvre
Drawing
–
A person drawing the
Barberini Faun in Munich
Drawing
–
Madame Palmyre with Her Dog, 1897.
Henri de Toulouse-Lautrec
Drawing
–
André Masson. Automatic Drawing. 1924. Ink on paper, 23.5 x 20.6 cm.
Museum of Modern Art, New York
20.
Sculpture
–
Sculpture is the branch of the visual arts that operates in three dimensions. It is one of the plastic arts, a wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or molded, or cast. However, most ancient sculpture was painted, and this has been lost. Those cultures whose sculptures have survived in quantities include the cultures of the ancient Mediterranean, India and China, the Western tradition of sculpture began in ancient Greece, and Greece is widely seen as producing great masterpieces in the classical period. During the Middle Ages, Gothic sculpture represented the agonies and passions of the Christian faith, the revival of classical models in the Renaissance produced famous sculptures such as Michelangelos David. Relief is often classified by the degree of projection from the wall into low or bas-relief, high relief, sunk-relief is a technique restricted to ancient Egypt. Relief sculpture may also decorate steles, upright slabs, usually of stone, techniques such as casting, stamping and moulding use an intermediate matrix containing the design to produce the work, many of these allow the production of several copies. The term sculpture is used mainly to describe large works. The very large or colossal statue has had an enduring appeal since antiquity, another grand form of portrait sculpture is the equestrian statue of a rider on horse, which has become rare in recent decades. The smallest forms of life-size portrait sculpture are the head, showing just that, or the bust, small forms of sculpture include the figurine, normally a statue that is no more than 18 inches tall, and for reliefs the plaquette, medal or coin. Sculpture is an important form of public art, a collection of sculpture in a garden setting can be called a sculpture garden. One of the most common purposes of sculpture is in form of association with religion. Cult images are common in cultures, though they are often not the colossal statues of deities which characterized ancient Greek art. The actual cult images in the innermost sanctuaries of Egyptian temples, of which none have survived, were rather small. The same is true in Hinduism, where the very simple. Some undoubtedly advanced cultures, such as the Indus Valley civilization, appear to have had no monumental sculpture at all, though producing very sophisticated figurines, the Mississippian culture seems to have been progressing towards its use, with small stone figures, when it collapsed. Other cultures, such as ancient Egypt and the Easter Island culture, from the 20th century the relatively restricted range of subjects found in large sculpture expanded greatly, with abstract subjects and the use or representation of any type of subject now common. Today much sculpture is made for intermittent display in galleries and museums, small sculpted fittings for furniture and other objects go well back into antiquity, as in the Nimrud ivories, Begram ivories and finds from the tomb of Tutankhamun
Sculpture
–
The Dying Gaul, or The Capitoline Gaul a Roman marble copy of a
Hellenistic work of the late 3rd century BCE
Capitoline Museums, Rome
Sculpture
Sculpture
–
Michelangelo 's
Moses, (c. 1513–1515), housed in the church of
San Pietro in Vincoli in
Rome. The sculpture was commissioned in 1505 by
Pope Julius II for his
tomb.
Sculpture
–
Assyrian
lamassu gate guardian from
Khorsabad, c. 721–800 BCE
21.
Pablo Picasso
–
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
Pablo Picasso
–
Picasso in 1908
Pablo Picasso
–
Pablo Picasso with his sister Lola, 1889
Pablo Picasso
–
Pablo Picasso, 1901, Old Woman (Woman with Gloves), oil on cardboard, 67 x 52.1 cm,
Philadelphia Museum of Art
Pablo Picasso
–
Pablo Picasso, 1901-02, Femme au café (Absinthe Drinker), oil on canvas, 73 x 54 cm,
Hermitage Museum, Saint Petersburg, Russia
22.
Visual arts
–
The visual arts are art forms such as ceramics, drawing, painting, sculpture, printmaking, design, crafts, photography, video, filmmaking, literature, and architecture. Many artistic disciplines involve aspects of the arts as well as arts of other types. Also included within the arts are the applied arts such as industrial design, graphic design, fashion design, interior design. Current usage of the visual arts includes fine art as well as the applied, decorative arts and crafts. The distinction was emphasized by artists of the Arts and Crafts Movement, Art schools made a distinction between the fine arts and the crafts, maintaining that a craftsperson could not be considered a practitioner of the arts. The increasing tendency to painting, and to a lesser degree sculpture. The Western hierarchy of genres reflected similar attitudes, training in the visual arts has generally been through variations of the apprentice and workshop systems. Visual arts have now become a subject in most education systems. Drawing is a means of making an image, using any of a variety of tools. Digital tools that simulate the effects of these are also used, the main techniques used in drawing are, line drawing, hatching, crosshatching, random hatching, scribbling, stippling, and blending. An artist who excels in drawing is referred to as a draftsman or draughtsman, drawing goes back at least 16,000 years to Paleolithic cave representations of animals such as those at Lascaux in France and Altamira in Spain. In ancient Egypt, ink drawings on papyrus, often depicting people, were used as models for painting or sculpture, drawings on Greek vases, initially geometric, later developed to the human form with black-figure pottery during the 7th century BC. Painting taken literally is the practice of applying pigment suspended in a carrier, like drawing, painting has its documented origins in caves and on rock faces. The finest examples, believed by some to be 32,000 years old, are in the Chauvet, in shades of red, brown, yellow and black, the paintings on the walls and ceilings are of bison, cattle, horses and deer. Paintings of human figures can be found in the tombs of ancient Egypt, in the great temple of Ramses II, Nefertari, his queen, is depicted being led by Isis. The Greeks contributed to painting but much of their work has been lost, one of the best remaining representations are the hellenistic Fayum mummy portraits. Another example is mosaic of the Battle of Issus at Pompeii, Greek and Roman art contributed to Byzantine art in the 4th century BC, which initiated a tradition in icon painting. Apart from the manuscripts produced by monks during the Middle Ages
Visual arts
–
Vincent van Gogh:
The Church at Auvers (1890)
Visual arts
–
Mosaic of Battle of Issus
Visual arts
–
Nefertari with Isis
Visual arts
–
Raphael:
Spasimo (1514-1516)
23.
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
24.
Departments of France
–
In the administrative divisions of France, the department is one of the three levels of government below the national level, between the administrative regions and the commune. There are 96 departments in metropolitan France and 5 overseas departments, each department is administered by an elected body called a departmental council. From 1800 to April 2015, they were called general councils, the departments were created in 1791 as a rational replacement of Ancien Régime provinces with a view to strengthen national unity, the title department is used to mean a part of a larger whole. Almost all of them were named after geographical features rather than after historical or cultural territories which could have their own loyalties. The earliest known suggestion of it is from 1764 in the writings of dArgenson and they have inspired similar divisions in many countries, some of them former French colonies. Most French departments are assigned a number, the Official Geographical Code. Some overseas departments have a three-digit number, the number is used, for example, in the postal code, and was until recently used for all vehicle registration plates. For example, inhabitants of Loiret might refer to their department as the 45 and this reform project has since been abandoned. The first French territorial departments were proposed in 1665 by Marc-René dArgenson to serve as administrative areas purely for the Ponts et Chaussées infrastructure administration, before the French Revolution, France gained territory gradually through the annexation of a mosaic of independent entities. By the close of the Ancien Régime, it was organised into provinces, during the period of the Revolution, these were dissolved, partly in order to weaken old loyalties. Their boundaries served two purposes, Boundaries were chosen to break up Frances historical regions in an attempt to erase cultural differences, Boundaries were set so that every settlement in the country was within a days ride of the capital of the department. This was a security measure, intended to keep the national territory under close control. This measure was directly inspired by the Great Terror, during which the government had lost control of rural areas far from any centre of government. The old nomenclature was carefully avoided in naming the new departments, most were named after an areas principal river or other physical features. Even Paris was in the department of Seine, the number of departments, initially 83, was increased to 130 by 1809 with the territorial gains of the Republic and of the First French Empire. Following Napoleons defeats in 1814-1815, the Congress of Vienna returned France to its pre-war size, in 1860, France acquired the County of Nice and Savoy, which led to the creation of three new departments. Two were added from the new Savoyard territory, while the department of Alpes-Maritimes was created from Nice, the 89 departments were given numbers based on their alphabetical order. The department of Bas-Rhin and parts of Meurthe, Moselle, Vosges and Haut-Rhin were ceded to the German Empire in 1871, following Frances defeat in the Franco-Prussian War
Departments of France
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Geometrical proposition rejected
Departments of France
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The 101 departments of France
Departments of France
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The three Algerian departments in 1848
25.
Bohain-en-Vermandois
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Bohain-en-Vermandois is a commune in the department of Aisne in Hauts-de-France in northern France. It is the place where the painter Henri Matisse grew up, formerly called Bohain, the town acquired its current name, Bohain-en-Vermandois in 1956. Ownership of the territory changed frequently during the period. Traces of fortifications can not only be found near to the primary school, in its past, Bohain being unequivocally incorporated within France, industry and trading developed and the town became a major center for the textile industry. It is recorded that Napoleon ordered a Bohainais weaver to work for the Empress Joséphine, the old textile factories have closed one after another, but weaving is still considered as a local tradition. It has been reported that the Lord of Bohain gave up Joan of Arc to the English during the Hundred Years War, communes of the Aisne department INSEE
Bohain-en-Vermandois
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Town hall
Bohain-en-Vermandois
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The station at Bohain early in the 20th century
26.
Still life
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A still life is a work of art depicting mostly inanimate subject matter, typically commonplace objects which may be either natural or man-made. Still life gives the artist more freedom in the arrangement of elements within a composition than do paintings of other types of such as landscape or portraiture. Early still-life paintings, particularly before 1700, often contained religious, some modern still life breaks the two-dimensional barrier and employs three-dimensional mixed media, and uses found objects, photography, computer graphics, as well as video and sound. Still life emerged from the painting of details in larger compositions with subjects, the term includes the painting of dead animals, especially game. Live ones are considered art, although in practice they were often painted from dead models. The still-life category also shares commonalities with zoological and especially botanical illustration, generally a still life includes a fully depicted background, and puts aesthetic rather than illustrative concerns as primary. Still life occupied the lowest rung of the hierarchy of genres, the trompe-lœil painting, which intends to deceive the viewer into thinking the scene is real, is a specialized type of still life, usually showing inanimate and relatively flat objects. Still-life paintings often adorn the interior of ancient Egyptian tombs and it was believed that food objects and other items depicted there would, in the afterlife, become real and available for use by the deceased. Ancient Greek vase paintings also demonstrate great skill in depicting everyday objects, by the 16th century, food and flowers would again appear as symbols of the seasons and of the five senses. Also starting in Roman times is the tradition of the use of the skull in paintings as a symbol of mortality and earthly remains and these vanitas images have been re-interpreted through the last 400 years of art history, starting with Dutch painters around 1600. As Pliny the Elder recorded in ancient Roman times, Greek artists centuries earlier were already advanced in the arts of painting, genre painting. He singled out Peiraikos, whose artistry is surpassed by only a very few, by 1300, starting with Giotto and his pupils, still-life painting was revived in the form of fictional niches on religious wall paintings which depicted everyday objects. Through the Middle Ages and the Renaissance, still life in Western art remained primarily an adjunct to Christian religious subjects, painters like Jan van Eyck often used still-life elements as part of an iconographic program. Petrus Christus’ portrait of a bride and groom visiting a goldsmith is an example of a transitional still life depicting both religious and secular content. Another similar type of painting is the family portrait combining figures with a table of food. Around this time, simple still-life depictions divorced of figures were beginning to be painted on the outside of shutters of private devotional paintings, another step toward the autonomous still life was the painting of symbolic flowers in vases on the back of secular portraits around 1475. This was a development by Pieter Aertsen, whose A Meat Stall with the Holy Family Giving Alms introduced the type with a painting that still startles. A small religious scene can often be out in the distance
Still life
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Jan Brueghel the Elder (1568–1625), Bouquet (1599),
Kunsthistorisches Museum,
Vienna. Some of the earliest examples of still life were paintings of flowers by Northern Renaissance, Dutch, and Flemish painters.
Still life
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Still life on a 2nd-century mosaic, with fish, poultry, dates and vegetables from the
Vatican museum
Still life
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Glass bowl of fruit and vases.
Roman wall painting in
Pompeii (around 70 AD),
Naples National Archaeological Museum,
Naples,
Italy
Still life
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Hans Memling (1430–1494), Vase of Flowers (1480), Museo Thyssen-Bornemisza,
Madrid. According to some scholars the Vase of Flowers is filled with religious symbolism.
27.
Nicolas Poussin
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Nicolas Poussin was the leading painter of the classical French Baroque style, although he spent most of his working life in Rome. His work is characterized by clarity, logic, and order, until the 20th century he remained a major inspiration for such classically oriented artists as Jacques-Louis David, Jean-Auguste-Dominique Ingres and Paul Cézanne. He worked in Rome for a circle of leading collectors from there and elsewhere, most of his works are history paintings of religious or mythological subjects that very often have a large landscape element. Early sketches attracted the notice of Quentin Varin, a painter, whose pupil Poussin became. There he entered the studios of the Flemish painter Ferdinand Elle and then of Georges Lallemand and he found French art in a stage of transition, the old apprenticeship system was disturbed, and the academic training destined to supplant it was not yet established by Simon Vouet. In Paris, Poussin was impressed by Italian art he viewed in the royal collection and he attempted to travel to Rome, but after reaching Florence he was forced, perhaps by ill health, to return to Paris. In 1622 he met Giambattista Marino, the poet to Marie de Medici. Marino employed him on illustrations for an edition of Ovids Metamorphoses. These Marino drawings preserved at Windsor Castle are among the few identifiable works of Poussin executed before his arrival in Rome. Marino took him into his household, and in 1624 enabled Poussin to rejoin him at Rome, Poussin was thirty when he arrived in Rome in 1624. At first he lodged with Simon Vouet, through Marino, he had been introduced to Marcello Sacchetti who in turn introduced him to another of his early patrons, Cardinal Francesco Barberini. However, their return from Spain in 1626 stabilized Poussin’s position, with renewed patronage by the Barberini and their circle. He fell ill at this time and was taken into the house of his compatriot Jacques Dughet, where he was nursed by Dughet’s daughter, Anna Maria and his two brothers-in-law were artists and Gaspard Dughet later took Poussin’s surname. During the late 1620s and 1630s, he experimented and formulated his own style and he studied the Antique as well as works such as Titian’s Bacchanals at the Casino Ludovisi and the paintings of Domenichino and Guido Reni. Peter’s, and an ingenious architectural imagination was emerging in works by Borromini, at the time the papacy was Rome’s foremost patron of the arts. Poussin’s Martyrdom of St. Erasmus for St and his subsequent career depended on private patronage. Louis XIII conferred on him the title of First Painter in Ordinary, in 1642, disgusted by the intrigues of Simon Vouet, Fouquières and the architect Jacques Lemercier, Poussin withdrew to Rome. There, in 1648, he finished for de Chantelou the second series of the Seven Sacraments and this painting shows the philosopher discarding his last worldly possession, his cup, after watching a man drink water by cupping his hands
Nicolas Poussin
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Self portrait by Nicolas Poussin, 1650
Nicolas Poussin
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Pastorale landscape, 1650
Nicolas Poussin
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Poussin's Death of Germanicus, 1628
Nicolas Poussin
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Poussin's
Tancred and
Erminia (early 1630s, oil on canvas, 98.5 x 146.5 cm,
Hermitage Museum) shows an evolution from Poussin's early emulation of
Caravaggio to a return to classicism.
28.
Antoine Watteau
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Jean-Antoine Watteau, better known as Antoine Watteau, was a French painter whose brief career spurred the revival of interest in colour and movement, as seen in the tradition of Correggio and Rubens. He revitalized the waning Baroque style, shifting it to the severe, more naturalistic. Watteau is credited with inventing the genre of fêtes galantes, scenes of bucolic and idyllic charm, some of his best known subjects were drawn from the world of Italian comedy and ballet. Watteau was born in October 1684 in the town of Valenciennes which had passed from the Spanish Netherlands to France. His father, Jean-Philippe Watteau, was a given to brawling. Showing an early interest in painting, Jean-Antoine may have been apprenticed to Jacques-Albert Gérin, jean-Antoines first artistic subjects were charlatans selling quack remedies on the streets of Valenciennes. Watteau left for Paris in 1702, by 1705 he was employed as an assistant by the painter Claude Gillot, whose work represented a reaction against the turgid official art of Louis XIVs reign. In Gillots studio Watteau became acquainted with the characters of the commedia dellarte, afterward he moved to the workshop of Claude Audran III, an interior decorator, under whose influence he began to make drawings admired for their consummate elegance. Audran was the curator of the Palais du Luxembourg, where Watteau was able to see the magnificent series of canvases painted by Peter Paul Rubens for Queen Marie de Medici. The Flemish painter would become one of his influences, together with the Venetian masters he would later study in the collection of his patron and friend. In 1709 Watteau tried to obtain the Prix de Rome and was rejected by the Academy. In 1712 he tried again and was considered so good that, rather than receiving the one-year stay in Rome for which he had applied, he was accepted as a full member of the Academy. He took five years to deliver the required reception piece, but it was one of his masterpieces, Watteau lacked aristocratic patrons, his buyers were bourgeois such as bankers and dealers. The subject of his painting, Pierrot, is an actor in a white satin costume who stands isolated from his four companions. Watteaus final masterpiece, the Shop-sign of Gersaint, exits the pastoral forest locale for an urban set of encounters. Painted at Watteaus own insistence, in eight days, working only in the mornings, in order to warm up his fingers, this sign for the shop in Paris of the paintings dealer Edme François Gersaint is effectively the final curtain of Watteaus theatre. It has been compared with Las Meninas as a meditation on art, the scene is an art gallery where the façade has magically vanished, and the gallery and street in the canvas are fused into one contiguous drama. Watteau alarmed his friends by a carelessness about his future and financial security, in fact he had been sickly and physically fragile since childhood
Antoine Watteau
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Watteau in the last year of his life, by
Rosalba Carriera, 1721.
Antoine Watteau
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Pleasures of Love (1718 - 1719)
Antoine Watteau
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The Feast (or Festival) of Love (1718 - 1719)
Antoine Watteau
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The Embarkation for Cythera, 1717,
Louvre. Many commentators note that it depicts a departure from the island of
Cythera, the birthplace of
Venus, thus symbolizing the brevity of love.
29.
Japanese art
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It has a long history, ranging from the beginnings of human habitation in Japan, sometime in the 10th millennium BC, to the present. Japan has been subject to invasions of new and strange ideas followed by long periods of minimal contact with the outside world. Over time the Japanese developed the ability to absorb, imitate, the earliest complex art in Japan was produced in the 7th and 8th centuries in connection with. After the Ōnin War, Japan entered a period of political, social, in the state that emerged under the leadership of the Tokugawa shogunate, organized religion played a much less important role in peoples lives, and the arts that survived were primarily secular. Painting is the artistic expression in Japan, practiced by amateurs. Until modern times, the Japanese wrote with a rather than a pen. With the rise of popular culture in the Edo period, a style of woodblock prints became a major form, Japanese ceramics are among the finest in the world and include the earliest known artifacts of their culture. In architecture, Japanese preferences for natural materials and an interaction of interior and exterior space are clearly expressed and they built simple houses of wood and thatch set into shallow earthen pits to provide warmth from the soil. They crafted lavishly decorated pottery vessels, clay figurines called dogū. The next wave of immigrants was the Yayoi people, named for the district in Tokyo where remnants of their settlements first were found. These people, arriving in Japan about 350 BC, brought their knowledge of rice cultivation, the manufacture of copper weapons and bronze bells. The third stage in Japanese prehistory, the Kofun period, represents a modification of Yayoi culture, the period is named for the large number of kofun megalithic tombs created during this period. In this period, diverse groups of people formed political alliances, typical artifacts are bronze mirrors, symbols of political alliances, and clay sculptures called haniwa which were erected outside tombs. The transmission of Buddhism provided the impetus for contacts between China, Korea and Japan. Throughout the 7th and 8th centuries, however, the focus in contacts between Japan and the Asian continent was the development of Buddhism. The most common designations are the Suiko period, 552–645, the Hakuhō period, 645–710, the earliest Japanese sculptures of the Buddha are dated to the 6th and 7th century. After the Chinese Northern Wei buddhist art had infiltrated a Korean peninsula, many historians portray Korea as a mere transmitter of Buddhism. The Three Kingdoms, and particularly Baekje, were instrumental as active agents in the introduction and formation of a Buddhist tradition in Japan in 538 or 552 and they illustrate the terminal point of the Silk Road transmission of art during the first few centuries of our era
Japanese art
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Cypress Tree Byōbu, folding screen by
Kano Eitoku, 1590
Japanese art
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Sudden Shower at the Atake Bridge,
Hiroshige, 1856
Japanese art
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Crab,
Kawahara Keiga, 1823-1829
Japanese art
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Statuette with Snow Glasses, Jōmon Era
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