1.
Albi
–
Albi is a commune in southern France. It is the prefecture of the Tarn department and it is located on the River Tarn, c.85 km northeast of Toulouse. It was the seat of the Archbishop of Albi and is the seat of the Diocese of Albi, the episcopal city, situated in the center of the actual city, around the cathedral Sainte-Cécile, was added to the UNESCO list of World Heritage Sites in 2010. Albi is the seat of 6 cantons, covering 18 communes, the first human settlement in Albi was in the Bronze Age. After the Roman conquest of Gaul in 51 BC, the town became Civitas Albigensium, archaeological digs have not revealed any traces of Roman buildings, which seems to indicate that Albi was a modest Roman settlement. In 1040, Albi expanded and constructed the Pont Vieux, new quarters were built, indicative of considerable urban growth. The city grew rich at this time, thanks to trade and commercial exchanges, in 1208, the Pope and the French king joined forces to combat the Cathars, who had developed their own version of Christianity, and so a heresy considered dangerous by the dominant Catholic Church. Repression was severe, and many Cathars were burnt at the stake throughout the region, the area, until then virtually independent, was reduced to such a condition that it was subsequently annexed by the French Crown. He ordered the building of the cathedral of Sainte-Cécile starting in 1282, the town enjoyed a period of commercial prosperity largely due to the cultivation of Isatis Tinctoria, commonly known as woad. The fine houses built during the Renaissance bear witness to the vast fortunes amassed by the pastel merchants, Albi had a small Jewish community during medieval times, until it was annihilated in the 1320s shepherds Crusade. Ever since, Jews were only allowed to transit the town by payment, in 1967, approximately 70 Jews lived in Albi, most of them of North-African origin. Albi has conserved its rich heritage which encapsulates the various brilliant periods of its history. Considerable improvement and restoration work has been done, to embellish the old quarters and to them a new look. Albi was built around the cathedral and episcopal group of buildings. This historic area covers 63 hectares, red brick and tiles are the main feature of most of the edifices. Along with Toulouse and Montauban, Albi is one of the cities built in Languedoc-style red brick. Among the buildings of the town is the Sainte Cécile cathedral and it is characterised by a strong contrast between its austere, defensive exterior and its sumptuous interior decoration. The rood screen is a work in stone in the Flamboyant Gothic style
Albi
–
View of Albi featuring the bridge of 22nd of August 1944 on the left, Sainte-Cécile cathedral and the Pont Vieux (old bridge) on the right.
Albi
–
View of Palais de la Berbie
Albi
–
St-Madeleine Church, Albi
Albi
–
Cathédrale Sainte-Cécile
2.
Tarn (department)
–
Tarn is a French department located in the Occitanie region in the southwest of France named after the Tarn river. Its prefecture and largest city is Albi, the inhabitants of Tarn are known, in French, as Tarnais. Tarn is one of the original 83 departments created during the French Revolution on 4 March 1790 and it was created from part of the former province of Languedoc, and comprised the dioceses of Albi and Castres. The new department had five districts, Albi, Castres, Lavaur, Gaillac, the capitals were, alternatively, Albi and Castres but, from 1790 to 1797, the capital was only Albi, in 1797, the capital was moved to Castres. In 1800, Albi became again the capital of the department and the arrondissements were created, in 1926, the arrondissements of Gaillac and Lavaur were eliminated. By the law of 28 Pluviôse Year 5, the departments of Hérault, Tarn is part of the Occitanie region and has an area of 5,757.9 km2. Tarns three principal ranges lying to the south-east are, the Mountains of Lacaune, the Sidobre, the stony and wind-blown slopes of the Mountains of Lacaune are used for pasture. The highest point of the range and of the department is the Puech Montgrand,1,267 m high, several other summits are not much short of this. The granite-strewn plateaux of the Sidobre, from 490 to 610 m high, separate the valley of the river Agout from that of its western tributary, the Montagne Noire, on the southwestern border of the department, derives its name from the forests on its northern slope. Its highest point is the Pic de Nore at 1,211 m high, the limestone and sandstone foot-hills are clothed with vines and fruit trees, and are broken by deep alluvial valleys of particular fertility. With the exception of a portion of the Montagne Noire, which drains into the river Aude. Tarn is part of the region of Occitanie and is managed by the General Council of the Tarn in Albi, there are 2 arrondissements,23 cantons and 323 communes in Tarn. Tarn has a population, in 2012, of 378,947, the arrondissement of Castres, with 192,432 inhabitants, is the arrondissement with more inhabitants. The arrondissement of Albi has 186,515 inhabitants
Tarn (department)
–
The old city of Albi and the
Tarn river
Tarn (department)
–
Lavaur: Garden in front of the Saint Alain
cathedral.
Tarn (department)
–
Albi
Tarn (department)
–
Castres theatre
3.
Second French Empire
–
The Second French Empire was the Imperial Bonapartist regime of Napoleon III from 1852 to 1870, between the Second Republic and the Third Republic, in France. The structure of the French government during the Second Empire was little changed from the First, but Emperor Napoleon III stressed his own imperial role as the foundation of the government. He had so often, while in prison or in exile and his answer was to organize a system of government based on the principles of the Napoleonic Idea. This meant that the emperor, the elect of the people as the representative of the democracy, ruled supreme. He himself drew power and legitimacy from his role as representative of the great Napoleon I of France, the anti-parliamentary French Constitution of 1852 instituted by Napoleon III on 14 January 1852, was largely a repetition of that of 1848. All executive power was entrusted to the emperor, who, as head of state, was responsible to the people. The people of the Empire, lacking democratic rights, were to rely on the benevolence of the rather than on the benevolence of politicians. He was to nominate the members of the council of state, whose duty it was to prepare the laws, and of the senate, a body permanently established as a constituent part of the empire. One innovation was made, namely, that the Legislative Body was elected by universal suffrage and this new political change was rapidly followed by the same consequence as had attended that of Brumaire. The press was subjected to a system of cautionnements and avertissements, in order to counteract the opposition of individuals, a surveillance of suspects was instituted. In the same way public instruction was strictly supervised, the teaching of philosophy was suppressed in the lycées, for seven years France had no democratic life. The Empire governed by a series of plebiscites, up to 1857 the Opposition did not exist, from then till 1860 it was reduced to five members, Darimon, Émile Ollivier, Hénon, Jules Favre and Ernest Picard. On 2 December 1851 Louis-Napoléon Bonaparte, who had been elected President of the Republic and he thus became sole ruler of France, and re-established universal suffrage, previously abolished by the Assembly. His decisions and the extension of his mandate for 10 years were popularly endorsed by a referendum later that month that attracted an implausible 92 percent support. A new constitution was enacted in January 1852 which made Louis-Napoléon president for 10 years, however, he was not content with merely being an authoritarian president. Almost as soon as he signed the new document into law, in response to officially-inspired requests for the return of the empire, the Senate scheduled a second referendum in November, which passed with 97 percent support. As with the December 1851 referendum, most of the yes votes were manufactured out of thin air, the empire was formally re-established on 2 December 1852, and the Prince-President became Napoléon III, Emperor of the French. The constitution concentrated so much power in his hands that the only changes were to replace the word president with the word emperor
Second French Empire
–
Napoléon III
Second French Empire
–
Flag
Second French Empire
–
The official declaration of the Second Empire, at the
Hôtel de Ville de Paris, on December 2, 1852.
4.
Fernand Cormon
–
Fernand Cormon was a French painter born in Paris. He became a pupil of Alexandre Cabanel, Eugène Fromentin, and Jean-François Portaels and his father was the playwright Eugène Cormon. His mother was Charlotte Furais, the actress, the Musée dOrsay has his Cain flying before Jehovahs Curse, and for the Mairie of the fourth arrondissement of Paris he executed in grisaille a series of panels, Birth, Death, Marriage, War, etc. A Chiefs Funeral, and a series of paintings for the Museum of natural history in Paris with themes from the Stone Age. He was appointed to the Legion of Honor in 1880, subsequently he also devoted himself to portraiture. Among his students with whom he was unsuccessful on this point were, for instance, Henri de Toulouse-Lautrec, Louis Anquetin, Eugène Boch, Paul Tampier, Émile Bernard, other students included Alphonse Osbert, Marius Borgeaud, and Theodor Pallady. This article incorporates text from a now in the public domain, Chisholm, Hugh. Atelier Cormon ~1885 (note e. g. Toulouse-Lautrec, Tampier, Anquetin, last row, second after sculpture, É. Bernard
Fernand Cormon
–
Fernand Cormon.
Fernand Cormon
–
Murder in the
Seraglio, (1874)
Fernand Cormon
–
Cain flying before Jehovah's Curse (1880)
Fernand Cormon
–
A
Forge (1894)
5.
At the Moulin Rouge
–
At the Moulin Rouge is an oil-on-canvas painting by French artist Henri de Toulouse-Lautrec. It was painted between 1892 and 1895 and it is one of a number of works by Toulouse-Lautrec depicting the Moulin Rouge cabaret built in Paris in 1889, the others include At the Moulin Rouge, The Dance and the poster Moulin Rouge, La Goulue. The painting portrays a group of three men and two women sitting around a table, from right to left, the people at the table are, Édouard Dujardin, dancer La Macarona, photographer Paul Secau, and photographer Maurice Guibert. The woman in the foreground is English dancer May Milton. In the background, on the right, you can see La Goulue with a partner, at the Moulin Rouge is under ownership of the Art Institute of Chicago as part of the Helen Birch Bartlett Memorial Collection, where it was first displayed on December 23,1930. It was exhibited in London in 2011 at the Courtauld Institute of Art and it is currently on display in the Art Institute of Chicago as part of the permanent collection
At the Moulin Rouge
–
At the Moulin Rouge
6.
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
7.
Art Nouveau
–
Art Nouveau is an international style of art, architecture and applied art, especially the decorative arts, that was most popular between 1890 and 1910. A reaction to the art of the 19th century, it was inspired by natural forms and structures, particularly the curved lines of plants. English uses the French name Art Nouveau, according to the philosophy of the style, art should be a way of life. For many well-off Europeans, it was possible to live in an art nouveau-inspired house with art nouveau furniture, silverware, fabrics, ceramics including tableware, jewellery, cigarette cases, artists desired to combine the fine arts and applied arts, even for utilitarian objects. By 1910, Art Nouveau was already out of style and it was replaced as the dominant European architectural and decorative style first by Art Deco and then by Modernism. Art Nouveau took its name from the Maison de lArt Nouveau, in France, Art Nouveau was also sometimes called by the British term Modern Style due to its roots in the Arts and Crafts Movement, Style moderne, or Style 1900. It was also sometimes called Style Jules Verne, Le Style Métro, Art Belle Époque, in Belgium, where the architectural movement began, it was sometimes termed Style nouille or Style coup de fouet. In Britain, it was known as the Modern Style, or, because of the arts and crafts movement led by Charles Rennie Mackintosh in Glasgow, as the Glasgow style. In Italy, because of the popularity in Italy of designs from Londons Liberty & Co department store, in the United States, due to its association with Louis Comfort Tiffany, it was often called the Tiffany style. In Germany and Scandinavia, a style emerged at about the same time, it was called Jugendstil. In Catalonia the related style was known as Modernisme, in Spain as Modernismo, Arte joven, in Russia, it was called Modern, and Jugendstil, and Nieuwe Kunst in the Netherlands. Some names refer specifically to the forms that were popular with the Art Nouveau artists, Stile Floreal in France, Paling Stijl in the Netherlands. The new art movement had its roots in Britain, in the designs of William Morris. Early prototypes of the include the Red House of Morris. In France, the style combined several different tendencies, in architecture, it was influenced by the architectural theorist and historian Eugène Viollet-le-Duc, a declared enemy of the historical Beaux-Arts architectural style. For each function its material, for each material its form and this book influenced a generation of architects, including Louis Sullivan, Victor Horta, Hector Guimard, and Antoni Gaudí. The French painters Maurice Denis, Pierre Bonnard and Édouard Vuillard played an important part in integrating fine arts painting with decoration, I believe that before everything a painting must decorate, Denis wrote in 1891. The choice of subjects or scenes is nothing and it is by the value of tones, the colored surface and the harmony of lines that I can reach the spirit and wake up the emotions
Art Nouveau
–
Table Lamp by
François-Raoul Larche in
gilt bronze, with the dancer
Loïe Fuller as model
Art Nouveau
–
Louis Majorelle, wall cabinet
Art Nouveau
–
Art Nouveau interior at the 1900 Paris Universal Exhibition by Bruno Möhring, German pavilion.
Art Nouveau
–
Art Nouveau sculpture, detail of facade in
Metz, France
8.
Painter
–
Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
Painter
–
The
Mona Lisa, by
Leonardo da Vinci, is one of the most recognizable paintings in the world.
Painter
–
Chen Hongshou (1598–1652), Leaf album painting (
Ming Dynasty)
Painter
–
Circus Sideshow (
French: Parade de cirque),
Georges Seurat, 1887–88
Painter
–
Cave painting of aurochs, (
French: Bos primigenius primigenius),
Lascaux,
France,
prehistoric art
9.
Printmaking
–
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
10.
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
11.
Illustrator
–
An illustrator is an artist who specializes in enhancing writing or elucidating concepts by providing a visual representation that corresponds to the content of the associated text or idea. The illustration may be intended to clarify complicated concepts or objects that are difficult to describe textually, illustration is the art of making images that work with something and add to it without needing direct attention and without distracting from the thing they illustrate. The other thing is the focus of the attention, and the role is to add personality. A cartoon illustration can add humor to stories or essays, use reference images to create scenes and characters. This can be as simple as looking at an image to inspire artwork, or creating character sketches. Some traditional illustration techniques include watercolor, pen and ink, airbrush art, oil painting, pastels, wood engraving, and linoleum cuts. Traditional illustration seems to have come full circle, from falling out of favor to photography in the early 1990s to being superseded by CGI, universities and art schools offer specific courses in illustration so this has become a new avenue into the profession. Many illustrators are freelance, commissioned by publishers or advertising agencies, most scientific illustrations and technical illustrations are also known as information graphics. Among the information graphics specialists are medical illustrators who illustrate human anatomy, often requiring years of artistic. A particularly popular medium with illustrators of the 1950s and 1960s was casein, the immediacy and durability of these media suited illustrations demands well. The artwork in both types of paint withstood the rigors of travel to clients and printers without damage, digital illustration is the technique of using a computer to produce original artwork. Digital illustrators use a combination of software and image editing software to create computer art. Digital illustration is not merely the manipulation of images with software, computer illustration or digital illustration is the use of digital tools to produce images under the direct manipulation of the artist, usually through a pointing device such as a tablet or a mouse. Computers dramatically changed the industry and today many cartoonists and illustrators create digital illustrations using computers, graphics tablets, software such as Adobe Illustrator or Adobe Photoshop are now widely used by those professionals
Illustrator
–
Jessie Willcox Smith 's 1923 illustration of the characters in
Alice in Wonderland.
Illustrator
–
A watercolor, by
John Simmons, depicting Hermia and Lysander, from A Midsummer Night's Dream (1870).
12.
Vincent van Gogh
–
Vincent Willem van Gogh was a Dutch Post-Impressionist painter who is among the most famous and influential figures in the history of Western art. In just over a decade he created about 2,100 artworks, including around 860 oil paintings and his suicide at 37 followed years of mental illness and poverty. Born into a family, Van Gogh drew as a child and was serious, quiet. As a young man he worked as an art dealer, often travelling and he turned to religion, and spent time as a Protestant missionary in southern Belgium. He drifted in ill health and solitude before taking up painting in 1881 and his younger brother Theo supported him financially, and the two kept up a long correspondence by letter. His early works, mostly still lifes and depictions of peasant labourers, in 1886 he moved to Paris, where he met members of the avant-garde, including Émile Bernard and Paul Gauguin, who were reacting against the Impressionist sensibility. As his work developed he created a new approach to still lifes and his paintings grew brighter in colour as he developed a style that became fully realised during his stay in Arles in the south of France in 1888. During this period he broadened his subject matter to include trees, cypresses, wheat fields. Van Gogh suffered from episodes and delusions and though he worried about his mental stability, he often neglected his physical health, did not eat properly. His friendship with Gauguin ended after a confrontation with a razor and he spent time in psychiatric hospitals, including a period at Saint-Rémy. After he discharged himself and moved to the Auberge Ravoux in Auvers-sur-Oise near Paris and his depression continued and on 27 July 1890, Van Gogh shot himself in the chest with a revolver. He died from his injuries two days later, Van Gogh was unsuccessful during his lifetime, and was considered a madman and a failure. He became famous after his suicide, and exists in the imagination as the quintessential misunderstood genius. His reputation began to grow in the early 20th century as elements of his style came to be incorporated by the Fauves. The most comprehensive source on Van Gogh is the correspondence between him and his younger brother, Theo. Their lifelong friendship, and most of what is known of Vincents thoughts, Theo van Gogh was an art dealer and provided his brother with financial and emotional support, and access to influential people on the contemporary art scene. Theo kept all of Vincents letters to him, Vincent kept few of the letters he received, after both had died, Theos widow Johanna arranged for the publication of some of their letters. A few appeared in 1906 and 1913, the majority were published in 1914, Vincents letters are eloquent and expressive and have been described as having a diary-like intimacy, and read in parts like autobiography
Vincent van Gogh
–
Self-Portrait, Spring 1887, Oil on pasteboard, 42 × 33.7 cm.,
Art Institute of Chicago (F 345)
Vincent van Gogh
–
Vincent c. 1871-1872 aged 18. This photograph was taken at the time when he was working at the branch of
Goupil & Cie 's gallery in
The Hague.
Vincent van Gogh
–
Vincent c. 1866, approx. age 13
Vincent van Gogh
–
Van Gogh's drawing of
87 Hackford Road
13.
Paul Gauguin
–
Eugène Henri Paul Gauguin was a French post-Impressionist artist. Underappreciated until after his death, Gauguin is now recognized for his use of color. His work was influential to the French avant-garde and many artists, such as Pablo Picasso. Many of his paintings were in the possession of Russian collector Sergei Shchukin and he was an important figure in the Symbolist movement as a painter, sculptor, printmaker, ceramist, and writer. He was also a proponent of wood engraving and woodcuts as art forms. Gauguin was born in Paris, France to Clovis Gauguin and Alina Maria Chazal on June 7,1848 and his birth coincided with revolutionary upheavals throughout Europe that year. His father, a 34-year-old liberal journalist, came from a family of petit-bourgeoisie entrepreneurs residing in Orléans and he was compelled to flee France when the newspaper for which he wrote was suppressed by French authorities. Gauguins mother, the 22-year-old Aline Marie Chazal, was the daughter of Andre Chazal, an engraver, and Flora Tristan and their union ended when Andre assaulted his wife Flora and was sentenced to prison for attempted murder. Paul Gauguins maternal grandmother, Flora Tristan, was the daughter of Thérèse Laisnay. Details of Thérèses family background are not known, her father, Don Mariano, was a Spanish nobleman, members of the wealthy Tristan Moscoso family held powerful positions in Peru. Nonetheless, Don Marianos unexpected death plunged his mistress and daughter Flora into poverty, when Floras marriage with Andre failed, she petitioned for and obtained a small monetary settlement from her fathers Peruvian relatives. She sailed to Peru in hopes of enlarging her share of the Tristan Moscoso family fortune and this never materialized, but she successfully published a popular travelogue of her experiences in Peru which launched her literary career in 1838. An active supporter of early socialist societies, Gauguins maternal grandmother helped to lay the foundations for the 1848 revolutionary movements, placed under surveillance by French police and suffering from overwork, she died in 1844. Her grandson Paul idolized his grandmother, and kept copies of her books with him to the end of his life. In 1850, Clovis Gauguin departed for Peru with his wife Alina and he died of a heart attack en route, and Alina arrived in Peru a widow with the 18-month-old Paul and his 2 ½ year-old sister, Marie. Gauguins mother was welcomed by her granduncle, whose son-in-law would shortly assume the presidency of Peru. To the age of six, Paul enjoyed an upbringing, attended by nursemaids. He retained a vivid memory of period of his childhood which instilled indelible impressions of Peru that haunted him the rest of his life
Paul Gauguin
–
Aline Marie Chazal Tristán, La mère de l'artiste ("The Artist's Mother"), 1889,
Staatsgalerie Stuttgart.
Paul Gauguin
–
Gauguin, c. 1891
Paul Gauguin
–
Woman Sewing, 1880,
Ny Carlsberg Glyptotek
14.
Count
–
Count or countess is a title in European countries for a noble of varying status, but historically deemed to convey an approximate rank intermediate between the highest and lowest titles of nobility. The word count came into English from the French comte, itself from Latin comes—in its accusative comitem—meaning “companion”, the adjective form of the word is comital. The British and Irish equivalent is an earl, alternative names for the count rank in the nobility structure are used in other countries, such as Graf in Germany and Hakushaku during the Japanese Imperial era. In the Western Roman Empire, Count came to indicate generically a military commander, in the Eastern Roman Empire, from about the seventh century, count was a specific rank indicating the commander of two centuries. Military counts in the Late Empire and the Germanic successor kingdoms were often appointed by a dux, the position of comes was originally not hereditary. By virtue of their estates, many counts could pass the title to their heirs—but not always. For instance, in Piast Poland, the position of komes was not hereditary, the title had disappeared by the era of the Polish–Lithuanian Commonwealth, and the office had been replaced by others. Only after the Partitions of Poland did the title of count resurface in the title hrabia, in the United Kingdom, the equivalent Earl can also be used as a courtesy title for the eldest son of a duke or marquess. In Italy, by contrast, all the sons of certain counts were counts, in Sweden there is a distinction between counts created before and after 1809. All children in comital families elevated before 1809 are called count/countess, the following lists are originally based on a Glossary on Heraldica. org by Alexander Krischnig. The male form is followed by the female, and when available, apart from all these, a few unusual titles have been of comital rank, not necessarily to remain there. Dauphin was a comital title in southern France, used by the Dauphins of Vienne and Auvergne. The Dauphin was the lord of the province known as the région Dauphiné. Conde-Barão Count-Baron is a title used in Portugal, notably by D. Luís Lobo da Silveira, 7th Baron of Alvito. His palace in Lisbon still exists, located in a named after him. The German Graf and Dutch graaf stems from the Byzantine-Greek grapheus meaning he who calls a meeting together), the Ottoman military title of Serdar was used in Montenegro and Serbia as a lesser noble title with the equivalent rank of a Count. Since Louis VII, the highest precedence amongst the vassals of the French crown was enjoyed by those whose benefice or temporal fief was a pairie, i. e. In the eleventh century, conti like the Count of Savoy or the Norman Count of Apulia, were virtually sovereign lords of broad territories
Count
–
Countly ephemera: a Count's coronet and crest on a
doily.
Count
–
Coronet of a count (Spanish heraldry)
15.
Aristocracy
–
Aristocracy is a form of government that places power in the hands of a small, privileged ruling class. The term derives from the Greek aristokratia, meaning rule of the best, at the time of the words origins in Ancient Greece, the Greeks conceived it as rule by the best qualified citizens—and often contrasted it favourably with monarchy, rule by an individual. In later times, aristocracy was usually seen as rule by a group, the aristocratic class. The Greeks did not like the concept of monarchy, and as their democratic system fell, in Ancient Rome, the Republic consisted of an aristocracy—as well as consuls, a senate, and a tribal assembly. In the Middle Ages and early modern era, aristocracies primarily consisted of an aristocratic class, privileged by birth. Since the French Revolution, aristocracy has generally been contrasted with democracy, however, this distinction is often oversimplified. In exchange feudal aid is received from tenants or vassals, oaths of military allegiance, however an oligarchy, nobility or royalty had the right to set taxes, assemble or raise armies and command loyalty by virtue of traditional authority. In the 1651 book Leviathan, Thomas Hobbes describes an aristocracy as a commonwealth in which the representative of the citizens is an assembly by part and it is a system in which only a small part of the population represents the government. Modern depictions of aristocracy tend to regard it not as the ancient Greek concept of rule by the best, history, John Cannon, Oxford University Press,1997, ISBN 978-0-19-866176-4 Aristocracy in the Modern World, Ellis Wasson, Palgrave Macmillan,2006
Aristocracy
–
Throughout the centuries
kings of Poland were elected by the
nobility in the fields outside
Warsaw
16.
Count of Toulouse
–
The Count of Toulouse was the ruler of Toulouse during the 8th to 13th centuries. Originating as vassals of the Frankish kings, the counts ruled the city of Toulouse. The counts and other members were also at various times counts of Quercy, Rouergue, Albi, and Nîmes. Count Raymond IV founded the Crusader state of Tripoli, and his descendants were also counts there. They reached the zenith of their power during the 11th and 12th centuries, during the youth of young Louis the Pious his tutor, Torson, ruled at Toulouse as the first count. In 788, Count Torson was captured by the Basques under Adalric, upon his release, Charlemagne, at the Council of Worms, replaced him with his Frankish cousin, William of Gellone. William in turn successfully subdued the Gascons, in the ninth century, Toulouse suffered in common with the rest of western Europe. It was besieged by Charles the Bald in 844, and taken four years later by the Normans, about 852, Raymond I, count of Quercy, succeeded his brother Fredelo as Count of Rouergue and Toulouse. It is from Raymond that all the counts of Toulouse document their descent. Raymond IIs grandson, William III, married Emma of Provence, from this time on, the counts of Toulouse were powerful lords in southern France. Raymond IV, assumed the titles of Marquis of Provence, Duke of Narbonne. Afterward, the count set sail with the First Crusade, after the conquest of Jerusalem, he set siege to the City of Tripoli in the Levant. Raymond died before the city was taken in 1109, but is considered the first Count of Tripoli and his son, Bertrand, then took the title. He and his successors ruled the Crusader state until 1187, Raymonds son and successor, Bertrand, had followed him to the Holy Land in 1109. Therefore, at Raymonds death the great estates and Toulouse went to Bertrands brother. His rule, however, was disturbed by the ambition of William IX and his granddaughter, Eleanor of Aquitaine, who urged her husband Louis VII of France to support her claims to Toulouse by war. Upon her divorce from Louis and her subsequent marriage to Henry II of England, Eleanor pressed her claims through Henry, Raymond V, a patron of the troubadours, died in 1194, and was succeeded by his son, Raymond VI. Following the 1208 assassination of the Papal legate, Pierre de Castelnau, Raymond was excommunicated, Raymond was eager to appease the Pope, and was pardoned
Count of Toulouse
–
Bust of
Louis-Alexandre de Bourbon, comte de Toulouse, by Yves-Étienne Collet (1761-1843). On display at Brest naval museum.
17.
Odet de Foix, Vicomte de Lautrec
–
Odet de Foix, Vicomte de Lautrec was a French military leader. He gained the reputation of a gallant and able soldier, but this seems to be justified by the facts. The branch of the Viscounts of Lautrec originated with Pierre, the son of John III of Foix, in 1515 Lautrec took part in the campaign of Marignano. In 1516 Lautrec received the government of the Milanese duchy, in 1521 he succeeded in defending the duchy against the Spanish army, but in 1522 he was completely defeated at the Battle of Bicocca, and was forced to evacuate the Milanese. The mutiny of his Swiss troops had compelled him, against his wish and he was created a marshal of France, and in 1527 he again received the command of the army of Italy. He occupied the Milanese, and was sent to undertake the conquest of the kingdom of Naples. The defection of Andrea Doria and an outbreak of the plague in the French camp brought on a fresh disaster, Lautrec himself caught the infection, and died in the August 1528. This article incorporates text from a now in the public domain, Chisholm, Hugh. There is abundant manuscript correspondence in the Bibliothèque Nationale, Paris See the Works of Brantôme Memoirs of Martin du Bellay
Odet de Foix, Vicomte de Lautrec
–
Odet de Foix, Vicomte de Lautrec, sketched by
Jean Clouet (early 16th century).
18.
Viscount
–
A viscount or viscountess is a title used in certain European countries for a noble of varying status, but historically deemed to convey a lower-middling rank. In many countries a viscount, and its equivalents, was a non-hereditary, administrative or judicial position. In the case of French viscounts, it is customary to leave the title untranslated as vicomte, the word viscount comes from Old French visconte, itself from Medieval Latin vicecomitem, accusative of vicecomes, from Late Latin vice- deputy + Latin comes. During the Carolingian Empire, the kings appointed counts to administer provinces and other regions, as governors. Viscounts were appointed to assist the counts in their running of the province, the kings strictly prevented the offices of their counts and viscounts from becoming hereditary, in order to consolidate their position and limit chance of rebellion. The title was in use in Normandy by at least the eleventh century. Similar to the Carolingian use of the title, the Norman viscounts were local administrators and their role was to administer justice and to collect taxes and revenues, often being castellan of the local castle. Under the Normans, the position developed into a hereditary one, the viscount was eventually replaced by bailiffs, and provosts. As a rank in British peerage, it was first recorded in 1440, the word viscount corresponds in the UK to the Anglo-Saxon shire reeve. A viscount is the rank in the British peerage system, standing below an earl. There are approximately 270 viscountcies currently extant in the peerages of the British Isles, an exception exists for Viscounts in the peerage of Scotland, who were traditionally styled The Viscount of, such as the Viscount of Arbuthnott. In practice, however, very few maintain this style, instead using the common version The Viscount in general parlance. A British viscount is addressed in speech as Lord, while his wife is Lady, the children of a viscount are known as The Honourable. A specifically British custom is the use of viscount as a title for the heir of an earl or marquess. The peers heir apparent will sometimes be referred to as a viscount, for example, the eldest son of the Earl Howe is Viscount Curzon, because this is the second most senior title held by the Earl. However, the son of a marquess or an earl can be referred to as a viscount when the title of viscount is not the second most senior if those above it share their name with the substantive title. For example, the second most senior title of the Marquess of Salisbury is the Earl of Salisbury, sometimes the son of a peer can be referred to as a viscount even when he could use a more senior courtesy title which differs in name from the substantive title. Family tradition plays a role in this, for example, the eldest son of the Marquess of Londonderry is Viscount Castlereagh, even though the Marquess is also the Earl Vane
Viscount
–
Royal, noble and
chivalric ranks
19.
Castres
–
Castres is a commune, and arrondissement capital in the Tarn department and Occitanie region in southern France. It lies in the former French province of Languedoc, Castres is the fourth largest industrial centre of the predominantly rural Midi-Pyrénées région and the largest in that part of Languedoc lying between Toulouse and Montpellier. Castres is noted for being the birthplace of the famous socialist leader Jean Jaurès, in 1831, the population of Castres was 12,032, making it the largest town of the department of Tarn. One of the few towns in the region of Albigeois, the population of the commune proper grew to 19,483 in 1901. However, with the decline of its industries, population growth diminished, Albi surpassed Castres as the most populous metropolitan area of Tarn. The population of Castres is now stagnating, after small growth in the 1970s and 1980s, Castres is located at an altitude of 172 metres above sea level. It is located 45 km south-southeast of Albi, the préfecture of Tarn, and 79 km east of Toulouse, Castres is intersected from north to south by the Agout and Durenque rivers. The Thoré forms most of the communes south-eastern border, then flows into the Agout, between 1790 and 1797 Castres was the prefecture of Tarn. Castres has teamed up with the town of Mazamet and the independent suburbs. The Greater Castres-Mazamet Council was created in order to coordinate transport, infrastructure, housing. The current president of the Greater Castres-Mazamet Council is Jacques Limouzy, former mayor of Castres before 1995, the name of the town comes from Latin castrum, and means fortified place. Castres grew up round the Benedictine abbey of Saint Benoît, which is believed to have founded in AD647. It was a place of importance as early as the 12th century. Resulting from the charter, Castres was ruled by a college of consuls, during the Albigensian Crusade it surrendered of its own accord to Simon de Montfort, and thus entered into the kingdom of France in 1229. In 1317, Pope John XXII established the bishopric of Castres, in 1356, the town of Castres was raised to a countship by King John II of France. However, the town suffered from the Black Plague in 1347-1348, then from the Black Prince of England. Consequently, by the late 14th century Castres entered a period of sharp decline, in 1375, there were only 4,000 inhabitants left in town, only half the figure from a century before. Around 1560, the majority of the population of Castres converted to Protestantism, in the wars of the latter part of the 16th century the inhabitants sided with the Protestant party, fortified the town, and established an independent republic
Castres
–
Houses by the Agout River
Castres
–
Map showing Castres and the surrounding region, 1638.
Castres
–
Church of Saint Benoît in Castres
20.
Toulouse
–
Toulouse is the capital city of the southwestern French department of Haute-Garonne, as well as of the Occitanie region. The city lies on the banks of the River Garonne,150 kilometres from the Mediterranean Sea,230 km from the Atlantic Ocean and it is the fourth-largest city in France with 466,297 inhabitants in January 2014. The Toulouse Metro area is, with 1312304 inhabitants as of 2014, Frances 4th metropolitan area after Paris, Lyon and Marseille and ahead of Lille and Bordeaux. Toulouse is the centre of the European aerospace industry, with the headquarters of Airbus, the Galileo positioning system, the SPOT satellite system, the Airbus Group, ATR and the Aerospace Valley. The city also hosts the European headquarters of Intel and CNESs Toulouse Space Centre, thales Alenia Space, and Astrium Satellites, Airbus Groups satellite system subsidiary, also have a significant presence in Toulouse. The University of Toulouse is one of the oldest in Europe and, with more than 103,000 students, is the fourth-largest university campus in France, after the Universities of Paris, Lyon and Lille. The air route between Toulouse Blagnac and Paris Orly is the busiest in Europe, transporting 2.4 million passengers in 2014, according to the rankings of LExpress and Challenges, Toulouse is the most dynamic French city. It is now the capital of the Occitanie region, the largest region in metropolitan France, sernin, the largest remaining Romanesque building in Europe, designated in 1998 because of its significance to the Santiago de Compostela pilgrimage route. Toulouse is in the south of France, north of the department of Haute-Garonne, the city is traversed by the Canal de Brienne, the Canal du Midi and the rivers Garonne, Touch and Hers-Mort. Toulouse has a subtropical climate which can be qualified as submediterranean due to its proximity to the Mediterranean climate zone. The Garonne Valley was a point for trade between the Pyrenees, the Mediterranean and the Atlantic since at least the Iron Age. The historical name of the city, Tolosa, it is of unknown meaning or origin, possibly from Aquitanian, or from Iberian, Tolosa enters the historical period in the 2nd century BC, when it became a Roman military outpost. After the conquest of Gaul, it was developed as a Roman city of Gallia Narbonensis. In the 5th century, Tolosa fell to the Visigothic kingdom and became one of its cities, in the early 6th century even serving as its capital. From this time, Toulouse was the capital of Aquitaine within the Frankish realm, in 721, Duke Odo of Aquitaine defeated an invading Umayyad Muslim army at the Battle of Toulouse. Odos victory was an obstacle to Muslim expansion into Christian Europe. Charles Martel, a later, won the Battle of Tours. The Frankish conquest of Septimania followed in the 750s, and a quasi-independent County of Toulouse emerged within the Carolingian sub-kingdom of Aquitaine by the late 8th century
Toulouse
–
Montage of Toulouse Top: Pont Saint Pierre and
Garonne River Middle:
Place du Capitole,
Pont Neuf Bottom:
Capitole de Toulouse, Ariane 5 at
Cité de l'espace,
Médiathèque José Cabanis
Toulouse
–
Vomitorium at the Roman amphitheatre in Toulouse
Toulouse
–
Raymond IV, Count of Toulouse was a leader of the
First Crusade
Toulouse
–
The
Capitole de Toulouse is an example of the 18th-century architectural projects in the city.
21.
Lithographer
–
Lithography is a method of printing originally based on the immiscibility of oil and water. The printing is from a stone or a plate with a smooth surface. It was invented in 1796 by German author and actor Alois Senefelder as a method of publishing theatrical works. Lithography can be used to print text or artwork onto paper or other suitable material, Lithography originally used an image drawn with oil, fat, or wax onto the surface of a smooth, level lithographic limestone plate. The stone was treated with a mixture of acid and gum arabic, when the stone was subsequently moistened, these etched areas retained water, an oil-based ink could then be applied and would be repelled by the water, sticking only to the original drawing. The ink would finally be transferred to a paper sheet. This traditional technique is used in some fine art printmaking applications. In modern lithography, the image is made of a coating applied to a flexible aluminum plate. The image can be printed directly from the plate, or it can be offset, by transferring the image onto a sheet for printing. In fact, photolithography is used synonymously with offset printing, the technique as well as the term were introduced in Europe in the 1850s. Beginning in the 1960s, photolithography has played an important role in the fabrication, Lithography uses simple chemical processes to create an image. For instance, the part of an image is a water-repelling substance. Thus, when the plate is introduced to a printing ink and water mixture, the ink will adhere to the positive image. This allows a flat print plate to be used, enabling much longer, Lithography was invented by Alois Senefelder in the Kingdom of Bavaria in 1796. In the early days of lithography, a piece of limestone was used. After the oil-based image was put on the surface, a solution of gum arabic in water was applied, during printing, water adhered to the gum arabic surfaces and was repelled by the oily parts, while the oily ink used for printing did the opposite. Lithography works because of the repulsion of oil and water. The image is drawn on the surface of the print plate with a fat or oil-based medium such as a wax crayon, which may be pigmented to make the drawing visible
Lithographer
–
Charles Marion Russell 's The Custer Fight (1903), with the range of tones fading toward the edges
Lithographer
–
Lithography stone and
mirror image print of a map of Munich
Lithographer
–
A 1902 lithograph map (original size 33×24 cm)
22.
Bohemianism
–
Bohemianism is the practice of an unconventional lifestyle, often in the company of like-minded people, with few permanent ties, involving musical, artistic, literary or spiritual pursuits. In this context, Bohemians may or may not be wanderers, adventurers, Bohemians were associated with unorthodox or anti-establishment political or social viewpoints, which often were expressed through free love, frugality, and—in some cases—voluntary poverty. A more economically privileged, wealthy, or even aristocratic bohemian circle is sometimes referred to as haute bohème, the term Bohemianism emerged in France in the early nineteenth century when artists and creators began to concentrate in the lower-rent, lower class, Romani neighborhoods. Literary Bohemians were associated in the French imagination with roving Romani people, outsiders apart from conventional society, the term carries a connotation of arcane enlightenment, and also carries a less frequently intended, pejorative connotation of carelessness about personal hygiene and marital fidelity. The title character in Carmen, a French opera set in the Spanish city of Seville, is referred to as a bohémienne in Meilhac and her signature aria declares love itself to be a gypsy child, going where it pleases and obeying no laws. Henri Murgers collection of short stories Scènes de la Vie de Bohème, published in 1845, was written to glorify, Murgers collection formed the basis of Giacomo Puccinis opera La bohème. In England, Bohemian in this sense initially was popularised in William Makepeace Thackerays novel, Vanity Fair, public perceptions of the alternative lifestyles supposedly led by artists were further molded by George du Mauriers highly romanticized best-selling novel of Bohemian culture Trilby. The novel outlines the fortunes of three expatriate English artists, their Irish model, and two very colorful Central European musicians, in the artist quarter of Paris. In Spanish literature, the Bohemian impulse can be seen in Ramón del Valle-Incláns play Luces de Bohemia, in his song La Bohème, Charles Aznavour described the Bohemian lifestyle in Montmartre. Also reflects the Bohemian lifestyle in Montmartre at the turn of the 20th century, in the 1850s, aesthetic bohemians began to arrive in the United States. In New York City in 1857, a group of some 15–20 young and this group gathered at a German bar on Broadway called Pffaffs beer cellar. Members included their leader Henry Clapp, Jr, walt Whitman, Fitz Hugh Ludlow, and actress Adah Isaacs Menken. Similar groups in cities were broken up as well by the Civil War. During the war, correspondents began to assume the title bohemian, Bohemian became synonymous with newspaper writer. Mark Twain included himself and Charles Warren Stoddard in the category in 1867. Club member and poet George Sterling responded to this redefinition, Any good mixer of convivial habits considers he has a right to be called a bohemian, but that is not a valid claim. There are two elements, at least, that are essential to Bohemianism, the first is devotion or addiction to one or more of the Seven Arts, the other is poverty. Despite his views, Sterling associated very closely with the Bohemian Club, canadian composer Oscar Ferdinand Telgmann and poet George Frederick Cameron wrote the song The Bohemian in the 1889 opera Leo, the Royal Cadet
Bohemianism
–
Pierre-Auguste Renoir,
The Bohemian (or Lise the Bohemian), 1868, oil on canvas, Berlin, Germany:
Alte Nationalgalerie
Bohemianism
–
Bohemian Grove during the summer Hi-Jinks, circa 1911–1916
Bohemianism
–
Gelett Burgess drew this fanciful "Map of Bohemia" for The Lark, March 1, 1896
23.
Le Rire
–
Le Rire was a successful French humor magazine published from October 1894 through the 1950s. Founded in Paris during the Belle Époque by Felix Juven, Le Rire appeared as typical Parisians began to achieve more education, income, interest in the arts, culture and politics intensified during the Gay Nineties. Publications like this helped satisfy such curiosity and it was the most successful of all the Journaux Humoristiques. The Dreyfus Affair occurred in 1894 and Le Rire was one of many publications to tap anti-Republican sentiment in wake of that scandal and it was a time in which French governance was frequently characterized by corruption and mismanagement. Government ministers and military officials became frequent targets, the satirical journal was filled with excellent drawings by prominent artists. It featured full-page chromotypographs on both covers and in the centerfold, many of these pieces are now highly desirable collectibles. The most prominent contributor was Théophile Steinlen and his illustrations were biting caricatures of the political jackasses of the day. During the music era, cabarets and cafes were crowded with personalities. Le Rire was there to capture scene for its readers and its pages depicted the likes of Yvette Guilbert, Polaire, Jane Avril, Réjane and even those of popular visitors to the theaters such as Séverine. The magazine remained in business for almost sixty years, closing down in the 1950s, Steinlen. net - A collection of more than 1,000 Steinlen images Le Rire - online Le rire rouge, édition de guerre du journal le rire - online
Le Rire
–
No. 158, 13 November 1897 cover by
Hermann-Paul
24.
Princeton University Art Museum
–
The Princeton University Art Museum is the Princeton Universitys gallery of art, located in Princeton, New Jersey. Founded in 1882, it now houses over 92,000 works of art that range from antiquity to the contemporary period and its collections concentrate on the Mediterranean region, Western Europe, China, the United States, and Latin America. The Museum has a collection of Greek and Roman antiquities, including ceramics, marbles, bronzes. Medieval Europe is represented by sculpture, metalwork, and stained glass, the collection of Western European paintings includes examples from the early Renaissance through the nineteenth century, and there is a growing collection of twentieth-century and contemporary art. Photographic holdings are a strength, numbering over 27,000 works from the invention of daguerreotype in 1839 to the present. The Museum is also noted for its Asian art gallery, which includes a collection of Chinese calligraphy, painting, ancient bronze works, jade carvings. In addition to its collections, the Museum mounts regular temporary exhibitions featuring works from its own holdings as well as made from public. Admission is free and the Museum is open Tuesday, Wednesday, Friday, and Saturday,10,00 am to 5,00 pm, Thursday,10,00 am to 10,00 pm, and Sunday 1,00 to 5,00 pm. The portrait was a donation from Belcher himself, given shortly before the College moved in 1756 to the newly built Nassau Hall and it was joined by a portrait of King George II, who had issued the letters patent establishing the College. The two portraits hung in the prayer hall, and were displayed alongside various antiquities and objects of natural history. The creation of the Art Museum in a formal sense took place under the leadership of James McCosh. The Scottish McCosh brought with him from Europe new progressive academic disciplines, by 1882, McCosh charged William Cowper Prime, a Princeton alumnus and founding trustee of the Metropolitan Museum of Art, and George B. McClellan, the Civil War general and then Governor of New Jersey and they argued, The foundation of any system of education in Historic Art must obviously be in object study. A museum of art objects is so necessary to the system that without it we are of opinion it would be of utility to introduce the proposed department. ”The intention was to go beyond the fields of art and classics to include, “many other branches of the collegiate course. ”They anticipated, “large future growth, ” as the College could “look with confidence to her sons, in all parts of the world. The collections of the Museum were initially held in Nassau Hall, along with the natural history collection of professor Arnold Henry Guyot. A new purpose-built fireproof Romanesque Revival Museum was designed by A, page Brown and completed in 1890 on the site of the current museum. On completion of the building the Museum received the Trumball-Prime collection of pottery and porcelain from William Prime, early additions included the purchase of a large collection of Cypriot pottery from the Metropolitan Museum in 1890, and purchases of Etruscan, Roman, and South Italian pottery. Marquand established an endowment from his own resources to further purchases
Princeton University Art Museum
–
Princeton University Art Museum
Princeton University Art Museum
Princeton University Art Museum
–
Hieronymus Bosch or a member of his circle, Christ Before Pilate, ca. 1520, gift of Allan Marquand
Princeton University Art Museum
–
Paul Cézanne, The Bathers, 1898, gift of Frank Jewett Mather Jr.,
Color lithograph
25.
Nice, France
–
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, France
–
Nice Port
Nice, France
–
Nice in the time of the
Roman Empire.
Nice, France
–
The Tower of Saint François
Nice, France
–
Nice in 1624
26.
Montmartre
–
Montmartre is a large hill in Pariss 18th arrondissement. It is 130 m high and gives its name to the surrounding district, Montmartre is primarily known for the white-domed Basilica of the Sacré-Cœur on its summit and as a nightclub district. The other, older, church on the hill is Saint Pierre de Montmartre, Montmartre is also the setting for several hit films. This site is served by metro, with line 2 stations at Anvers, Pigalle, and Blanche and line 12 stations at Pigalle, Abbesses, Lamarck - Caulaincourt, texts from the 8th century cite the name of mons Mercori, and a 9th-century text speaks of Mount Mars. Excavations in 1975 north of the Church of Saint-Pierre found coins from the 3rd century, earlier excavations in the 17th century at the Fontaine-du-But found vestiges of Roman baths from the 2nd century. According to Hilduin, Denis collected his head and carried it as far as the fontaine Saint-Denis, then descended the slope of the hill. Hilduin wrote that a church had built in the place formerly called Mont de Mars. In 1134, king Louis VI purchased the Merovingian chapel and built on the site the church of Saint-Pierre de Montmartre and he also founded The Royal Abbey of Montmartre, a monastery of the Benedictine order, whose buildings, gardens and fields occupied most of Montmartre. He also built a chapel, called the Martyrium, at the site where it was believed that Saint Denis had been decapitated. It became a pilgrimage site. In the 17th century, a priory called abbaye den bas was built at that site, the abbey was destroyed in 1790 during the French Revolution, and the convent demolished to make place for gypsum mines. The church of Saint-Pierre was saved, at the place where the chapel of the Martyrs was located, an oratory was built in 1855. By the 15th century, the north and northeast slopes of the hill were the site of a surrounded by vineyards, gardens and orchards of peach. The first mills were built on the slope in 1529, grinding wheat, barley. The siege eventually failed when a relief force approached and forced Henry to withdraw. In 1790, Montmartre was located just outside the limits of Paris and that year, under the revolutionary government of the National Constituent Assembly, it became the commune of Montmartre, with its town hall located on place du Tertre, site of the former abbey. The main businesses of the commune were wine making, stone quarries, the mining of gypsum had begun in the Gallo-Roman period, first in open air mines and then underground, and continued until 1860. The gypsum was cut into blocks, baked, then ground, sold as montmartarite, it was used for plaster, because of its resistance to fire and water
Montmartre
–
Montmartre, dominated by the
Basilica of the Sacré Cœur
Montmartre
–
Saint-Pierre de Montmartre (1133) seen from the dome of the Basilica of the Sacré-Cœur.
Montmartre
–
The Moulin de la Galette, painted by
Vincent Van Gogh in 1887 (Carnegie Museum of Art).
Montmartre
–
The Chapel of the Martyrs of Monmartre Abbey in the 17th century
_-_Henri_de_Toulouse-Lautrec.jpg)
_1887-8.jpg)
_1899.jpg)
_-_Henri_de_Toulouse-Lautrec.jpg)
_1891.jpg)
_1892.jpg)
_1894.jpg)
_1894.jpg)
