1.
Genre painter
–
Genre art is the pictorial representation in any of various media of scenes or events from everyday life, such as markets, domestic settings, interiors, parties, inn scenes, and street scenes. Such representations may be realistic, imagined, or romanticized by the artist, some variations of the term genre art specify the medium or type of visual work, as in genre painting, genre prints, genre photographs, and so on. Rather confusingly, the meaning of genre, covering any particular combination of an artistic medium. Painting was divided into a hierarchy of genres, with painting at the top, as the most difficult and therefore prestigious. But history paintings are a genre in painting, not genre works, the following concentrates on painting, but genre motifs were also extremely popular in many forms of the decorative arts, especially from the Rococo of the early 18th century onwards. Single figures or small groups decorated a huge variety of such as porcelain, furniture, wallpaper. Genre painting, also called genre scene or petit genre, depicts aspects of life by portraying ordinary people engaged in common activities. A work would often be considered as a genre work even if it could be shown that the artist had used a known member of his family. In this case it would depend on whether the work was likely to have intended by the artist to be perceived as a portrait—sometimes a subjective question. The depictions can be realistic, imagined, or romanticized by the artist, because of their familiar and frequently sentimental subject matter, genre paintings have often proven popular with the bourgeoisie, or middle class. Genre themes appear in all art traditions. These were part of a pattern of Mannerist inversion in Antwerp painting, giving low elements previously in the background of images prominent emphasis. The generally small scale of these paintings was appropriate for their display in the homes of middle class purchasers. Often the subject of a painting was based on a popular emblem from an Emblem book. The merry company showed a group of figures at a party, other common types of scenes showed markets or fairs, village festivities, or soldiers in camp. In Italy, a school of painting was stimulated by the arrival in Rome of the Dutch painter Pieter van Laer in 1625. He acquired the nickname Il Bamboccio and his followers were called the Bamboccianti, whose works would inspire Giacomo Ceruti, Antonio Cifrondi, jean-Baptiste Greuze and others painted detailed and rather sentimental groups or individual portraits of peasants that were to be influential on 19th-century painting. Spain had a tradition predating The Book of Good Love of social observation and commentary based on the Old Roman Latin tradition, practiced by many of its painters and illuminators
Genre painter
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The Idle Servant; housemaid troubles were the subject of several of
Nicolaes Maes ' works
Genre painter
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Peasant Dance, c. 1568, oil on wood, by
Pieter Brueghel the Elder
Genre painter
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Merry company, by Dirck Hals
Genre painter
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Interior with woman by
Wybrand Hendriks
2.
Nantes
–
Nantes is a city in western France, located on the Loire River,50 km from the Atlantic coast. The city is the sixth largest in France, with almost 300,000 inhabitants within its limits. Together with Saint-Nazaire, a located on the Loire estuary. Nantes is the seat of the Loire-Atlantique département and of the Pays de la Loire région. Historically and culturally, Nantes belongs to Brittany, a former duchy, the fact that it is not part of the modern administrative Brittany région is subject to debate. Nantes appeared during the Antiquity as a port on the Loire and it became the seat of a bishopric at the end of the Roman era, before being conquered by the Breton people in 851. Nantes was the residence of the dukes of Brittany in the 15th century. The French Revolution was a period of turmoil resulted in an economic decline. Nantes managed to develop a strong industry after 1850, chiefly in ship building, however, deindustrialisation in the second half of the 20th century pushed the city to reorient its economy towards services. In 2012, the Globalization and World Cities Research Network ranked Nantes as a Gamma- world city and it is the fourth highest ranking city in France after Paris, Lyon and Marseilles. The Gamma- category gathers other large cities such as Algiers, Orlando, Porto, Turin, Nantes has often been praised for its quality of life and it was awarded the European Green Capital Award in 2013. The settlement is mentioned in Ptolemys Geography as Κονδηούινϰον and Κονδιούινϰον, during the Gallo-Roman period, this name was latinised and adapted as Condevincum, Condevicnum, Condivicnum, Condivincum, etc. Condevincum seems to be related to the Gaulish word condate meaning confluence, at the end of the Roman period, Condevincum became known as Portus Namnetum and civitas Namnetum. This phenomenon can be observed on most of the ancient cities of France throughout the 4th century, for instance, Lutecia became Paris, city of the Parisii, Darioritum became Vannes, city of the Veneti. Portus Namnetum evolved in Nanetiæ and Namnetis in the 5th century, the name of the Namnetes people could either come from the Gaulish root *nant-, from the pre-Celtic root *nanto or from the other tribe name Amnites, which could mean men of the river. The name Nantes is pronounced and the city inhabitants are called Nantais, in Gallo, the romance dialect traditionally spoken in the region around Nantes, the city is called Naunnt or Nantt, according to the various spelling systems. The Gallo pronunciation is the same as the French one, although northern speakers pronounce it with a long, in Breton language, Nantes is known as Naoned or An Naoned. The latter, meaning the Nantes, is common and reflects the fact that articles are more frequent in Breton toponyms than in French ones
Nantes
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Place Royale
Nantes
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The Marité
schooner anchored in the port of Nantes
Nantes
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Île Feydeau (fr)
Nantes
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Cours Cambronne (fr)
3.
France
–
France, officially the French Republic, is a country with territory in western Europe and several overseas regions and territories. The European, or metropolitan, area of France extends from the Mediterranean Sea to the English Channel and the North Sea, Overseas France include French Guiana on the South American continent and several island territories in the Atlantic, Pacific and Indian oceans. France spans 643,801 square kilometres and had a population of almost 67 million people as of January 2017. It is a unitary republic with the capital in Paris. Other major urban centres include Marseille, Lyon, Lille, Nice, Toulouse, during the Iron Age, what is now metropolitan France was inhabited by the Gauls, a Celtic people. The area was annexed in 51 BC by Rome, which held Gaul until 486, France emerged as a major European power in the Late Middle Ages, with its victory in the Hundred Years War strengthening state-building and political centralisation. During the Renaissance, French culture flourished and a colonial empire was established. The 16th century was dominated by civil wars between Catholics and Protestants. France became Europes dominant cultural, political, and military power under Louis XIV, in the 19th century Napoleon took power and established the First French Empire, whose subsequent Napoleonic Wars shaped the course of continental Europe. Following the collapse of the Empire, France endured a succession of governments culminating with the establishment of the French Third Republic in 1870. Following liberation in 1944, a Fourth Republic was established and later dissolved in the course of the Algerian War, the Fifth Republic, led by Charles de Gaulle, was formed in 1958 and remains to this day. Algeria and nearly all the colonies became independent in the 1960s with minimal controversy and typically retained close economic. France has long been a centre of art, science. It hosts Europes fourth-largest number of cultural UNESCO World Heritage Sites and receives around 83 million foreign tourists annually, France is a developed country with the worlds sixth-largest economy by nominal GDP and ninth-largest by purchasing power parity. In terms of household wealth, it ranks fourth in the world. France performs well in international rankings of education, health care, life expectancy, France remains a great power in the world, being one of the five permanent members of the United Nations Security Council with the power to veto and an official nuclear-weapon state. It is a member state of the European Union and the Eurozone. It is also a member of the Group of 7, North Atlantic Treaty Organization, Organisation for Economic Co-operation and Development, the World Trade Organization, originally applied to the whole Frankish Empire, the name France comes from the Latin Francia, or country of the Franks
France
–
One of the
Lascaux paintings: a horse –
Dordogne, approximately 18,000 BC
France
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Flag
France
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The
Maison Carrée was a temple of the
Gallo-Roman city of Nemausus (present-day
Nîmes) and is one of the best preserved vestiges of the
Roman Empire.
France
–
With
Clovis ' conversion to Catholicism in 498, the
Frankish monarchy,
elective and
secular until then, became
hereditary and of
divine right.
4.
Paris
–
Paris is the capital and most populous city of France. It has an area of 105 square kilometres and a population of 2,229,621 in 2013 within its administrative limits, the agglomeration has grown well beyond the citys administrative limits. By the 17th century, Paris was one of Europes major centres of finance, commerce, fashion, science, and the arts, and it retains that position still today. The aire urbaine de Paris, a measure of area, spans most of the Île-de-France region and has a population of 12,405,426. It is therefore the second largest metropolitan area in the European Union after London, the Metropole of Grand Paris was created in 2016, combining the commune and its nearest suburbs into a single area for economic and environmental co-operation. Grand Paris covers 814 square kilometres and has a population of 7 million persons, the Paris Region had a GDP of €624 billion in 2012, accounting for 30.0 percent of the GDP of France and ranking it as one of the wealthiest regions in Europe. The city is also a rail, highway, and air-transport hub served by two international airports, Paris-Charles de Gaulle and Paris-Orly. Opened in 1900, the subway system, the Paris Métro. It is the second busiest metro system in Europe after Moscow Metro, notably, Paris Gare du Nord is the busiest railway station in the world outside of Japan, with 262 millions passengers in 2015. In 2015, Paris received 22.2 million visitors, making it one of the top tourist destinations. The association football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris, the 80, 000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros, Paris hosted the 1900 and 1924 Summer Olympics and is bidding to host the 2024 Summer Olympics. The name Paris is derived from its inhabitants, the Celtic Parisii tribe. Thus, though written the same, the name is not related to the Paris of Greek mythology. In the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps, since the late 19th century, Paris has also been known as Panam in French slang. Inhabitants are known in English as Parisians and in French as Parisiens and they are also pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the areas major north-south trade routes crossed the Seine on the île de la Cité, this place of land and water trade routes gradually became a town
Paris
–
In the 1860s Paris streets and monuments were illuminated by 56,000 gas lamps, making it literally "The City of Light."
Paris
Paris
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Gold coins minted by the Parisii (1st century BC)
Paris
–
The
Palais de la Cité and
Sainte-Chapelle, viewed from the Left Bank, from the
Très Riches Heures du duc de Berry (month of June) (1410)
5.
Elie Delaunay
–
Jules-Élie Delaunay was a French academic painter. He was born at Nantes in the Loire-Atlantique département of France, Delaunay studied under Flandrin, and at the École des Beaux Arts in Paris under Lamothe. His Scenes from the Life of St Genevieve, which he designed for the Panthéon, the Musée dOrsay has his famous Plague in Rome and a nude figure of Diana, and the Nantes Museum, the Lesson on the Flute. In the last decade of his life he achieved great popularity as a portrait painter, among his subjects were his “Mother” and “Mademoiselle Toulmouche. ”He was awarded a first-class medal at the Paris Exposition of 1878, and the medal of honor in 1889. In 1878 he became an officer of the Legion of Honor, Jules-Élie Delaunay died in Paris in 1891. Media related to Jules-Élie Delaunay at Wikimedia Commons
Elie Delaunay
–
Elie Delaunay, Sappho kissing her lyre, oil on canvas
6.
Hippolyte Flandrin
–
Jean-Hippolyte Flandrin was a 19th-century French painter. His celebrated 1836 work Jeune Homme Nu Assis au Bord de la Mer is in the Louvre, from an early age, Flandrin showed interest in the arts and a career as a painter. However, his parents pressured him to become a businessman, and having little training. Hippolyte was the second of three sons, all of whom were painters in some aspect, augusto, his older brother, spent most of his life as a professor at Lyon and later died there. Paul, his brother, was a painter of portraits. Hippolyte and Paul spent some time at Lyon, saving to leave for Paris in 1829, eventually, they settled in the studio of Jean Auguste Dominique Ingres, who became not only their instructor but their friend for life. At first, Hippolyte struggled as a poor artist, however, in 1832, he won the Prix de Rome for his painting Recognition of Theseus by his Father. This prestigious art scholarship meant that he was no longer limited by his poverty, the Prix de Rome allowed him to study for five years in Rome. While there, he created paintings, increasing his celebrity both in France and Italy. His painting St. Clair Healing the Blind was created for the cathedral of Nantes, jesus and the Little Children was given by the government to the town of Lisieux. Dante and Virgil visiting the Envious Men struck with Blindness and Euripides writing his Tragedies are now in the Museum of Fine Arts in Lyon, upon his return to Paris in 1856, Flandrin received a commission from the chapel of St John in the church of St Séverin. As a result, his reputation even more impressive, virtually guaranteeing him continuous employment for the rest of his life. In addition to works, Flandrin also painted a great number of portraits. However, he is more known today for his monumental decorative paintings. List of works by Eugène Guillaume This article incorporates text from a now in the public domain, Chisholm, Hugh. Catholic Encyclopedia entry Delaborde, Lettres et pensies de H. Flandrin Beul, Notice historique sur H. F. Jeune homme nu assis au bord de la mer
Hippolyte Flandrin
–
Jean-Hippolyte Flandrin
Hippolyte Flandrin
–
Jeune Homme Nu Assis au Bord de la Mer (1836)
Hippolyte Flandrin
–
Polytès, Son of Priam, Observing the Movements of the Greeks (1833-34)
7.
Jean-Auguste-Dominique Ingres
–
Jean-Auguste-Dominique Ingres was a French Neoclassical painter. A man profoundly respectful of the past, he assumed the role of a guardian of orthodoxy against the ascendant Romantic style represented by his nemesis. His exemplars, he explained, were the great masters which flourished in that century of glorious memory when Raphael set the eternal. I am thus a conservator of good doctrine, and not an innovator, Ingres was born in Montauban, Tarn-et-Garonne, France, the first of seven children of Jean-Marie-Joseph Ingres and his wife Anne Moulet. From his father the young Ingres received early encouragement and instruction in drawing and music, and his first known drawing, the deficiency in his schooling would always remain for him a source of insecurity. In 1791, Joseph Ingres took his son to Toulouse, where the young Jean-Auguste-Dominique was enrolled in the Académie Royale de Peinture, Sculpture et Architecture, there he studied under the sculptor Jean-Pierre Vigan, the landscape painter Jean Briant, and the neoclassical painter Guillaume-Joseph Roques. Roques veneration of Raphael was an influence on the young artist. Ingres won prizes in several disciplines, such as composition, figure and antique and his musical talent was developed under the tutelage of the violinist Lejeune, and from the ages of thirteen to sixteen he played second violin in the Orchestre du Capitole de Toulouse. Ingres followed his masters neoclassical example but revealed, according to David and his trip to Rome, however, was postponed until 1806, when the financially strained government finally appropriated the travel funds. Working in Paris alongside several other students of David in a provided by the state. He found inspiration in the works of Raphael, in Etruscan vase paintings, in 1802 he made his debut at the Salon with Portrait of a Woman. The following year brought a commission, when Ingres was one of five artists selected to paint full-length portraits of Napoleon Bonaparte as First Consul. These were to be distributed to the towns of Liège, Antwerp, Dunkerque, Brussels. In the summer of 1806 Ingres became engaged to Marie-Anne-Julie Forestier, although he had hoped to stay in Paris long enough to witness the opening of that years Salon, in which he was to display several works, he reluctantly left for Italy just days before the opening. Chaussard condemned Ingress style as gothic and asked, How, with so much talent, a line so flawless, the answer is that he wanted to do something singular, something extraordinary. M. Ingress intention is nothing less than to make art regress by four centuries, to carry us back to its infancy, Ingres stylistic eclecticism represented a new tendency in art. As art historian Marjorie Cohn has written, At the time, Artists and critics outdid each other in their attempts to identify, interpret, and exploit what they were just beginning to perceive as historical stylistic developments. From the beginning of his career, Ingres freely borrowed from earlier art, adopting the style appropriate to his subject
Jean-Auguste-Dominique Ingres
–
Self-portrait at age 24, 1804 (revised c. 1850), oil on canvas, 78 x 61 cm,
Musée Condé
Jean-Auguste-Dominique Ingres
–
The Envoys of Agamemnon, 1801, oil on canvas, École des Beaux Arts, Paris
Jean-Auguste-Dominique Ingres
–
Napoleon I on his Imperial Throne, 1806, oil on canvas, 260 x 163 cm,
Musée de l'Armée, Paris
Jean-Auguste-Dominique Ingres
–
Madame Rivière, 1806, oil on canvas, 116.5 x 81.7 cm,
Louvre
8.
Louvre
–
The Louvre or the Louvre Museum is the worlds largest museum and a historic monument in Paris, France. A central landmark of the city, it is located on the Right Bank of the Seine in the citys 1st arrondissement, approximately 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square metres. The Louvre is the second most visited museum after the Palace Museum in China. The museum is housed in the Louvre Palace, originally built as a fortress in the late 12th century under Philip II, remnants of the fortress are visible in the basement of the museum. Due to the expansion of the city, the fortress eventually lost its defensive function and. The building was extended many times to form the present Louvre Palace, in 1692, the building was occupied by the Académie des Inscriptions et Belles Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years, during the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nations masterpieces. The museum opened on 10 August 1793 with an exhibition of 537 paintings, because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under Napoleon and the museum renamed Musée Napoléon, the collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic, whether this was the first building on that spot is not known, it is possible that Philip modified an existing tower. According to the authoritative Grand Larousse encyclopédique, the name derives from an association with wolf hunting den, in the 7th century, St. Fare, an abbess in Meaux, left part of her Villa called Luvra situated in the region of Paris to a monastery. This territory probably did not correspond exactly to the modern site, the Louvre Palace was altered frequently throughout the Middle Ages. In the 14th century, Charles V converted the building into a residence and in 1546, Francis acquired what would become the nucleus of the Louvres holdings, his acquisitions including Leonardo da Vincis Mona Lisa. After Louis XIV chose Versailles as his residence in 1682, constructions slowed, however, on 14 October 1750, Louis XV agreed and sanctioned a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. Under Louis XVI, the museum idea became policy. The comte dAngiviller broadened the collection and in 1776 proposed conversion of the Grande Galerie of the Louvre – which contained maps – into the French Museum, many proposals were offered for the Louvres renovation into a museum, however, none was agreed on. Hence the museum remained incomplete until the French Revolution, during the French Revolution the Louvre was transformed into a public museum. In May 1791, the Assembly declared that the Louvre would be a place for bringing together monuments of all the sciences, on 10 August 1792, Louis XVI was imprisoned and the royal collection in the Louvre became national property
Louvre
–
the Richelieu wing (2005)
Louvre
–
The only portion of the medieval Louvre still visible
Louvre
–
Antonio Canova 's
Psyche Revived by Cupid's Kiss was commissioned in 1787, donated in 1824.
Louvre
–
The
Venus de Milo was added to the Louvre's collection during the reign of
Louis XVIII.
9.
James McNeill Whistler
–
James Abbott McNeill Whistler was an American artist, active during the American Gilded Age and based primarily in the United Kingdom. He was averse to sentimentality and moral allusion in painting, and was a proponent of the credo art for arts sake. His famous signature for his paintings was in the shape of a stylized butterfly possessing a long stinger for a tail, the symbol was apt, for it combined both aspects of his personality—his art was characterized by a subtle delicacy, while his public persona was combative. Finding a parallel between painting and music, Whistler entitled many of his paintings arrangements, harmonies, and nocturnes and his most famous painting is Arrangement in Grey and Black No. 1, commonly known as Whistlers Mother, the revered and oft-parodied portrait of motherhood, Whistler influenced the art world and the broader culture of his time with his artistic theories and his friendships with leading artists and writers. James Abbott Whistler was born in Lowell, Massachusetts, on July 10,1834 and his father was a railroad engineer, and Anna was his second wife. James lived the first three years of his life in a modest house at 243 Worthen Street in Lowell, today, the house is a museum dedicated to Whistler. During the Ruskin trial, Whistler claimed St. Petersburg, Russia, as his birthplace, declaring, I shall be born when and where I want, in 1837, the Whistlers moved from Lowell to Stonington, Connecticut, where George Whistler worked for the Stonington Railroad. Sadly, during this period, three of George and Anna Whistlers children died in infancy, in 1839, the Whistlers fortunes improved considerably when George Whistler received the appointment that would make his fortune and fame - that of chief engineer for the Boston & Albany Railroad. Thus, the moved to Springfield, Massachusetts, then one of the United States most prosperous cities. The Whistlers lived in Springfield until they left the United States in late 1842, Nicholas I of Russia learned of George Whistlers ingenuity in engineering the Boston & Albany Railroad, and offered Whistler a position in 1842 engineering a railroad from St. Petersburg to Moscow. In the winter of 1842, the Whistlers moved from Springfield to St. Petersburg, in later years, James Whistler played up his mothers connection to the American South and its roots, and presented himself as an impoverished Southern aristocrat. After her death, he adopted her name, using it as an additional middle name. Young Whistler was a moody child prone to fits of temper and insolence and his parents discovered in his early youth that drawing often settled him down and helped focus his attention. Beginning in 1842, his father was employed to work on a railroad in Russia, after moving to St. Petersburg to join his father a year later, the young Whistler took private art lessons, then enrolled in the Imperial Academy of Fine Arts at age eleven. In 1844, he met the noted artist Sir William Allan, Whistlers mother noted in her diary, the great artist remarked to me Your little boy has uncommon genius, but do not urge him beyond his inclination. In 1847-48, his family spent some time in London with relatives, Whistlers brother-in-law Francis Haden, a physician who was also an artist, spurred his interest in art and photography. Haden took Whistler to visit collectors and to lectures, and gave him a set with instruction
James McNeill Whistler
–
Arrangement in Gray: Portrait of the Painter (self portrait, c. 1872),
Detroit Institute of Arts
James McNeill Whistler
–
Portrait of Whistler with Hat (1858),
Freer Gallery of Art,
Washington, D.C.
James McNeill Whistler
–
Symphony in White, No. 1: The White Girl (1862), The National Gallery of Art, Washington, D.C.
James McNeill Whistler
–
Nocturne: Blue and Gold - Old Battersea Bridge (1872),
Tate Britain, London, England
10.
Edgar Degas
–
Edgar Degas was a French artist famous for his paintings, sculptures, prints, and drawings. He is especially identified with the subject of dance, more than half of his works depict dancers and he is regarded as one of the founders of Impressionism, although he rejected the term, preferring to be called a realist. He was a draftsman, and particularly masterly in depicting movement, as can be seen in his rendition of dancers, racecourse subjects. His portraits are notable for their complexity and for their portrayal of human isolation. At the beginning of his career, Degas wanted to be a history painter, in his early thirties, he changed course, and by bringing the traditional methods of a history painter to bear on contemporary subject matter, he became a classical painter of modern life. Degas was born in Paris, France, into a wealthy family. He was the oldest of five children of Célestine Musson De Gas, a Creole from New Orleans, Louisiana, and Augustin De Gas and his maternal grandfather Germain Musson, was born in Port-au-Prince, Haiti of French descent and had settled in New Orleans in 1810. Degas began his schooling at age eleven, enrolling in the Lycée Louis-le-Grand and his mother died when he was thirteen, and his father and grandfather became the main influences on him for the remainder of his youth. Degas began to paint early in life, by the time he graduated from the Lycée with a baccalauréat in literature in 1853, at age 18, he had turned a room in his home into an artists studio. Upon graduating, he registered as a copyist in The Louvre Museum, Degas duly enrolled at the Faculty of Law of the University of Paris in November 1853, but applied little effort to his studies. In April of that year Degas was admitted to the École des Beaux-Arts and he studied drawing there with Louis Lamothe, under whose guidance he flourished, following the style of Ingres. In July 1856, Degas traveled to Italy, where he would remain for the three years. In 1858, while staying with his aunts family in Naples and he also began work on several history paintings, Alexander and Bucephalus and The Daughter of Jephthah in 1859–60, Sémiramis Building Babylon in 1860, and Young Spartans around 1860. In 1861 Degas visited his childhood friend Paul Valpinçon in Normandy and he exhibited at the Salon for the first time in 1865, when the jury accepted his painting Scene of War in the Middle Ages, which attracted little attention. The change in his art was influenced primarily by the example of Édouard Manet, upon the outbreak of the Franco-Prussian War in 1870, Degas enlisted in the National Guard, where his defense of Paris left him little time for painting. During rifle training his eyesight was found to be defective, after the war, Degas began in 1872 an extended stay in New Orleans, Louisiana, where his brother René and a number of other relatives lived. Staying at the home of his Creole uncle, Michel Musson, on Esplanade Avenue, Degas produced a number of works, many depicting family members. One of Degass New Orleans works, A Cotton Office in New Orleans, garnered favorable attention back in France, Degas returned to Paris in 1873 and his father died the following year, whereupon Degas learned that his brother René had amassed enormous business debts
Edgar Degas
–
Self-portrait (Degas au porte-fusain), 1855
Edgar Degas
–
Edgar Degas c. 1850s
Edgar Degas
–
A Cotton Office in New Orleans, 1873
Edgar Degas
–
The Dance Class (La Classe de Danse), 1873–1876, oil on canvas, by Edgar Degas
11.
Manet
–
Édouard Manet was a French painter. He was one of the first 19th-century artists to paint modern life, born into an upper-class household with strong political connections, Manet rejected the future originally envisioned for him, and became engrossed in the world of painting. His early masterworks, The Luncheon on the Grass and Olympia, today, these are considered watershed paintings that mark the genesis of modern art. Édouard Manet was born in Paris on 23 January 1832, in the ancestral hôtel particulier on the rue des Petits Augustins to an affluent and well-connected family. His mother, Eugénie-Desirée Fournier, was the daughter of a diplomat and goddaughter of the Swedish crown prince Charles Bernadotte and his father, Auguste Manet, was a French judge who expected Édouard to pursue a career in law. His uncle, Edmond Fournier, encouraged him to pursue painting, in 1841 he enrolled at secondary school, the Collège Rollin. In 1845, at the advice of his uncle, Manet enrolled in a course of drawing where he met Antonin Proust, future Minister of Fine Arts. At his fathers suggestion, in 1848 he sailed on a vessel to Rio de Janeiro. After he twice failed the examination to join the Navy, his father relented to his wishes to pursue an art education, from 1850 to 1856, Manet studied under the academic painter Thomas Couture. In his spare time, Manet copied the Old Masters in the Louvre, in 1856, Manet opened a studio. His style in this period was characterized by brush strokes, simplification of details. Adopting the current style of realism initiated by Gustave Courbet, he painted The Absinthe Drinker and other subjects such as beggars, singers, Gypsies, people in cafés. Manet had two canvases accepted at the Salon in 1861, a portrait of his mother and father, who at the time was paralysed and robbed of speech by a stroke, was ill received by critics. The other, The Spanish Singer, was admired by Theophile Gautier, Manets work, which appeared slightly slapdash when compared with the meticulous style of so many other Salon paintings, intrigued some young artists. The Spanish Singer, painted in a new fashion caused many painters eyes to open. Music in the Tuileries is an example of Manets painterly style. Inspired by Hals and Velázquez, it is a harbinger of his lifelong interest in the subject of leisure. While the picture was regarded as unfinished by some, the suggested atmosphere imparts a sense of what the Tuileries gardens were like at the time, one may imagine the music and conversation
Manet
–
portrait by
Nadar, 1874
Manet
–
Manet's portrait painted by
Fantin-Latour
Manet
–
Music in the Tuileries, 1862
Manet
–
The Luncheon on the Grass (Le déjeuner sur l'herbe), 1863
12.
Paris Salon
–
The Salon, or rarely Paris Salon, beginning in 1667 was the official art exhibition of the Académie des Beaux-Arts in Paris. Between 1748 and 1890 it was arguably the greatest annual or biennial art event in the Western world, at the 1761 Salon, thirty-three painters, nine sculptors, and eleven engravers contributed. From 1881 onward, it has been managed by the Société des Artistes Français, in 1667, the royally sanctioned French institution of art patronage, the Académie royale de peinture et de sculpture, held its first semi-public art exhibit at the Salon Carré. The Salons original focus was the display of the work of recent graduates of the École des Beaux-Arts, exhibition at the Salon de Paris was essential for any artist to achieve success in France for at least the next 200 years. Exhibition in the Salon marked a sign of royal favor, in 1725, the Salon was held in the Palace of the Louvre, when it became known as Salon or Salon de Paris. In 1737, the exhibitions, held from 18 August 1737 to 5 September 1737 at the Grand Salon of the Louvre and they were held, at first, annually, and then biennially, in odd-numbered years. They would start on the feast day of St. Louis, once made regular and public, the Salons status was never seriously in doubt. In 1748 a jury of awarded artists was introduced, from this time forward, the influence of the Salon was undisputed. The Salon exhibited paintings floor-to-ceiling and on every inch of space. The jostling of artwork became the subject of other paintings. Printed catalogues of the Salons are primary documents for art historians, critical descriptions of the exhibitions published in the gazettes mark the beginning of the modern occupation of art critic. The French revolution opened the exhibition to foreign artists, the vernissage of opening night was a grand social occasion, and a crush that gave subject matter to newspaper caricaturists like Honoré Daumier. Charles Baudelaire, Denis Diderot and others wrote reviews of the Salons, the 1848 revolution liberalized the Salon. The amount of refused works was greatly reduced, the increasingly conservative and academic juries were not receptive to the Impressionist painters, whose works were usually rejected, or poorly placed if accepted. The Salon opposed the Impressionists shift away from traditional painting styles, in 1863 the Salon jury turned away an unusually high number of the submitted paintings. An uproar resulted, particularly from regular exhibitors who had been rejected, in order to prove that the Salons were democratic, Napoleon III instituted the Salon des Refusés, containing a selection of the works that the Salon had rejected that year. It opened on 17 May 1863, marking the birth of the avant-garde, the Impressionists held their own independent exhibitions in 1874,1876,1877,1879,1880,1881,1882 and 1886. In 1881, the government withdrew official sponsorship from the annual Salon, in December 1890, the leader of the Société des Artistes Français, William-Adolphe Bouguereau, propagated the idea that Salon should be an exhibition of young, not-yet awarded, artists
Paris Salon
–
Formally dressed patrons at the Salon in 1890
Paris Salon
–
This portrait by
John Singer Sargent of
Virginie Amélie Avegno Gautreau depicting her
cleavage caused considerable controversy when it was displayed at the 1884 Salon.
Paris Salon
–
Salon of 1932, Grand Palais, Paris.
Paris Salon
–
Salon of 1753
13.
Middle Ages
–
In the history of Europe, the Middle Ages or Medieval Period lasted from the 5th to the 15th century. It began with the fall of the Western Roman Empire and merged into the Renaissance, the Middle Ages is the middle period of the three traditional divisions of Western history, classical antiquity, the medieval period, and the modern period. The medieval period is subdivided into the Early, High. Population decline, counterurbanisation, invasion, and movement of peoples, the large-scale movements of the Migration Period, including various Germanic peoples, formed new kingdoms in what remained of the Western Roman Empire. In the seventh century, North Africa and the Middle East—once part of the Byzantine Empire—came under the rule of the Umayyad Caliphate, although there were substantial changes in society and political structures, the break with classical antiquity was not complete. The still-sizeable Byzantine Empire survived in the east and remained a major power, the empires law code, the Corpus Juris Civilis or Code of Justinian, was rediscovered in Northern Italy in 1070 and became widely admired later in the Middle Ages. In the West, most kingdoms incorporated the few extant Roman institutions, monasteries were founded as campaigns to Christianise pagan Europe continued. The Franks, under the Carolingian dynasty, briefly established the Carolingian Empire during the later 8th, the Crusades, first preached in 1095, were military attempts by Western European Christians to regain control of the Holy Land from Muslims. Kings became the heads of centralised nation states, reducing crime and violence, intellectual life was marked by scholasticism, a philosophy that emphasised joining faith to reason, and by the founding of universities. Controversy, heresy, and the Western Schism within the Catholic Church paralleled the conflict, civil strife. Cultural and technological developments transformed European society, concluding the Late Middle Ages, the Middle Ages is one of the three major periods in the most enduring scheme for analysing European history, classical civilisation, or Antiquity, the Middle Ages, and the Modern Period. Medieval writers divided history into periods such as the Six Ages or the Four Empires, when referring to their own times, they spoke of them as being modern. In the 1330s, the humanist and poet Petrarch referred to pre-Christian times as antiqua, leonardo Bruni was the first historian to use tripartite periodisation in his History of the Florentine People. Bruni and later argued that Italy had recovered since Petrarchs time. The Middle Ages first appears in Latin in 1469 as media tempestas or middle season, in early usage, there were many variants, including medium aevum, or middle age, first recorded in 1604, and media saecula, or middle ages, first recorded in 1625. The alternative term medieval derives from medium aevum, tripartite periodisation became standard after the German 17th-century historian Christoph Cellarius divided history into three periods, Ancient, Medieval, and Modern. The most commonly given starting point for the Middle Ages is 476, for Europe as a whole,1500 is often considered to be the end of the Middle Ages, but there is no universally agreed upon end date. English historians often use the Battle of Bosworth Field in 1485 to mark the end of the period
Middle Ages
–
The
Cross of Mathilde, a
crux gemmata made for
Mathilde, Abbess of Essen (973–1011), who is shown kneeling before the Virgin and Child in the
enamel plaque. The body of Christ is slightly later. Probably made in
Cologne or
Essen, the cross demonstrates several medieval techniques:
cast figurative sculpture,
filigree, enamelling, gem polishing and setting, and the reuse of Classical
cameos and
engraved gems.
Middle Ages
–
A late Roman statue
depicting the four Tetrarchs, now in
Venice
Middle Ages
–
Coin of
Theodoric
Middle Ages
–
Mosaic showing
Justinian with
the bishop of
Ravenna, bodyguards, and courtiers
14.
Jan August Hendrik Leys
–
Henri Leys, Hendrik Leys or Jan August Hendrik, Baron Leys was a Belgian painter and printmaker. He was a representative of the historical or Romantic school in Belgian art. His history and genre paintings and portraits earned him a European-wide reputation and his style was influential on artists in, Henri Leys was born in Antwerp as the son of Hendrik-Jozef-Martinus Leys and Maria-Theresia Craen. His father ran a business specializing in religious images printed from old copper plates. The first etching by Henri Leys was an image made for his fathers shop in 1831. Henry Leys was not very interested in school but was keen on drawing. His parents supported his proclivity and let him study under a painter who lived next door. Leys subsequently studied at the Antwerp Academy of Fine Arts, from 1829 to 1832 he studied from the Antique, during this period he started to work in the studio of his brother-in-law, the genre painter Ferdinand de Braekeleer. One of Leys teachers at the Academy was Mattheus Ignatius van Bree, according to a widely circulated story, during a lecture by van Bree on the draping of the gown and peplos of figures from antiquity Leys made a remark about van Brees old-fashioned breeches. Van Bree did not appreciate the joke, but as the young hothead refused to apologize, the director evicted him from the Academy. Leys never returned to the Academy, not even as a teacher after he had achieved international success, from the start of his career Leys painted history and genre subjects. During this period Leys often collaborated with the Belgian Romantic painter Gustaf Wappers, both artists were interested in nationalistic subjects painted in styles that owe much to the example of 16th- and 17th-century Flemish painting. In 1835 Leys went to Paris where he visited the studio of Eugène Delacroix, the influence of Delaroches Romanticism is evident in Leys early work. His precocious talent was manifested at the Brussels Salon of 1836 where he exhibited his Massacre of the magistrates of Louvain for which he received high praise, Leys married Adelaïde van Haren in 1841. The couple had two daughters and a son, the family Leys initially lived in the Hobokenstraat. In 1855 Leys had a spacious house built in the street, which now bears his name. Fom 1857 to 1861 he worked on murals to decorate the room of his house. Leys became in 1852 member of the Kunstverbond or Cercle Artistique, Litéraire et Scientifique d’Anvers and its honorary chairman was the liberal mayor of Antwerp Jan Frans Loos
Jan August Hendrik Leys
–
The Mass of Berthal de Haze
Jan August Hendrik Leys
Jan August Hendrik Leys
–
Lucie Leys, daughter of the painter
Jan August Hendrik Leys
–
The vow
15.
Peter von Cornelius
–
Peter von Cornelius was a German painter. From the age of twelve he attended drawing classes at the Düsseldorf Academy and his father, who was superintendent of the Düsseldorf gallery and professor at the academy, died in 1799, after which Cornelius supported his family by his work as a portraitist and illustrator. In a letter to the Count Raczynski he wrote, It fell to the lot of an elder brother and his earliest major work was the decoration of the choir of the church of St Quirinus at Neuss, commissioned by Canon Wallraff of Cologne in 1803. In 1809 he began a series of drawings illustrating Goethes Faust, for these Cornelius employed a linear style much influenced by a facsimile edition of Dürers prayer book for Maximilian I. Six of the images were shown to the poet, who approved of them, Cornelius continued the series following his move to Rome, and it was published in twelve engravings between 1816 and 1826, under the title Bilder zu Goethes Faust. He moved to Frankfurt in 1809, and worked there until going to Rome two years later, in 1821 he took on, in addition to his work for Ludwig, the directorship of the Düsseldorf Academy. At the death of Director Langer, 1824–5, he director of the Munich Academy. The fresco decorations of the Ludwigskirche in Munich, which were for the most part designed and executed by Cornelius, were perhaps the most important mural works of their time. The large fresco of the Last Judgment, over the altar in that church. The frescoes of the Creator, the Nativity, and the Crucifixion in the building are also upon a large scale. The king abandoned his plans following the revolution of 1848, and he maintained close contact with the art world in Rome, and returned to live there between 1853 and 1869. Cornelius, as an oil painter, possessed little technical skill, even as a fresco painter his manipulative power was not great. And in critically examining the execution in colour of some of his magnificent designs, one cannot help feeling that he was, in this respect, Cornelius and his associates endeavoured to follow in their works the spirit of the Italian painters. But the Italian strain is to a considerable extent modified by the Dürer heritage and these peculiarities are even noticeable in Corneliuss principal work of the Last Judgment, in the Ludwigskirche in Munich. But despite these peculiarities there is always in his works a grandeur, although not dexterous in the handling of the brush, he could conceive and design a subject with masterly purpose. His pupils included Karl Hermann, Wilhelm von Kaulbach and Adam Eberle, Cornelius often relied on pupils and assistants for the execution, and sometimes even the design of the projects of which he was in charge. In 1855 Théophile Gautier wrote that Cornelius enjoyed a celebrity such as few artists enjoy in their lifetime, Germany was in painting and sculpture behind all the rest of Europe. Yet in less than half a century Cornelius founded a school, revived mural painting
Peter von Cornelius
–
Peter von Cornelius.
Peter von Cornelius
–
Fresco of The Last Judgment at the Ludwigskirche in Munich
16.
Moritz Retzsch
–
Friedrich August Moritz Retzsch was a German painter, draughtsman, and etcher. Retzsch was born in the Saxon capital Dresden and he was made a member of the Academy in 1817 and professor in 1824. The Cotta publishing house commissioned illustrations for Johann Wolfgang Goethes Faust, goethe liked his work, and he illustrated works by other famous authors, most notably Friedrich Schillers Lied von der Glocke, a Shakespeare Gallery, and Bürgers Ballads. He also did oil paintings on classical subjects, and portraits, many of his works were created in a house in the Lößnitz, with a view of the Elbe Valley. As a winemaker, he was a member of the Saxon wine association from 1799 onwards, das Winzerfest der Weinbaugesellschaft im Königreich Sachsen am 25.10.1840, Meinhold & Söhne, Dresden Neidhardt, H. J. Die Malerei der Romantik in Dresden, Seemann Verlag, leipzig,1976 H. Heine, Die Harzreise, Ph. Reclam jun. 1961, p.48 Bäumel, J. Vom landesherrlichen Bacchus-Triumph zum Aufzug der Hofewintzer, in,600 Jahre Hoflößnitz, historische Weingutsanlage, S. 125-139, thurston, H. T. Colby, F. M. eds
Moritz Retzsch
–
Scene from Faust
17.
French franc
–
The franc, also commonly distinguished as the French franc, was a currency of France. Between 1450 and 1999, it was the name of coins worth 1 livre tournois and it was revalued in 1960, with each new franc being worth 100 old francs. The French franc was a commonly held reserve currency of reference in the 19th and 20th centuries. The first franc was a gold coin introduced in 1360 to pay the Ransom of King John II of France and this coin secured the kings freedom and showed him on a richly decorated horse earning it the name franc à cheval. The obverse legend, like other French coins, gives the title as Francorum Rex. Its value was set as one livre tournois, john’s son, Charles V, continued this type. It was copied exactly at Brabant and Cambrai and, with the arms on the horse cloth changed, conquests led by Joan of Arc allowed Charles VII to return to sound coinage and he revived the franc à cheval. John II, however, was not able to strike enough francs to pay his ransom, John II died as a prisoner in England and his son, Charles V was left to pick up the pieces. Charles V pursued a policy of reform, including stable coinage, an edict dated 20 April 1365 established the centerpiece of this policy, a gold coin officially called the denier d’or aux fleurs de lis which had a standing figure of the king on its obverse. Its value in money of account was one livre tournois, just like the franc à cheval, in accordance with the theories of the mathematician, economist and royal advisor Nicolas Oresme, Charles struck fewer coins of better gold than his predecessors. In the accompanying deflation both prices and wages fell, but wages fell faster and debtors had to settle up in better money than they had borrowed, the Mayor of Paris, Etienne Marcel, exploited their discontent to lead a revolt which forced Charles V out of the city. The States General which met at Blois in 1577 added to the pressure to stop currency manipulation. Henry III agreed to do this and he revived the franc and this coin and its fractions circulated until 1641 when Louis XIII of France replaced it with the silver Écu. Nevertheless, the franc continued in accounting as a synonym for the livre tournois. The decimal franc was established as the currency by the French Revolutionary Convention in 1795 as a decimal unit of 4.5 g of fine silver. This was slightly less than the livre of 4.505 g, silver coins now had their denomination clearly marked as “5 FRANCS” and it was made obligatory to quote prices in francs. e. Coinage with explicit denominations in decimal fractions of the franc also began in 1795, decimalization of the franc was mandated by an act of 7 April 1795, which also dealt with of weights and measures. France’s first decimal coinage used allegorical figures symbolizing revolutionary principles, like the designs the United States had adopted in 1793
French franc
–
Franc à cheval
French franc
–
Franc à pied
French franc
–
1795 five centimes, the first year of decimal fractions for the franc.
French franc
–
1799 two-decimes
essai coin
18.
Ernest Gambart
–
Jean Joseph Ernest Theodore Gambart was a Belgian-born English art publisher and dealer who dominated the London art world in the middle of the nineteenth century. Gambart was born in Kortrijk, the son of a printer, binder and bookseller, by the age of 19, he had moved to Paris where he established his own print and papermaking business. He soon became known to the well-established Goupil print publishers, for whom he moved to England in 1840 to establish a branch in London. He soon struck out on his own again in 1842, this time in partnership with one Mr. Junin, the company was a success, and by early in 1844, the company was established as publishers as well as importers and exporters. Gambart soon gained a reputation as a publisher of fine art prints. M. W. Turner, David Roberts, Frederick Goodall, Dante Gabriel Rossetti, Ford Madox Brown and he was a friend to many of these artists, and helped establish the reputation of some. For example, in 1855, he brought Rosa Bonheur to England with her piece, The Horse Fair, which he purchased. For the same visit, he arranged a sojourn to Scotland where Bonheur made sketches for later works and he published many of her paintings as steel engraved reproductions. Through his efforts, she became known in England than her native France. The Dutch-born Alma-Tadema benefited in a similar manner ten years later and he met Gambart in 1864 and Gambart was impressed by the young mans work. Gambart arranged an exhibition in London in 1865 and promoted his work while the artist remained in Belgium, Alma-Tadema finally moved to London in 1870. Gambart worked with some of the finest engravers and technicians of his day to create works as close to the intent as possible in a black. Among the craftsmen he employed were Charles George Lewis, Gambart later also employed colour lithography. His attention to quality paid off both in the arrangements he maintained with leading artists and also in sales, among his best selling reproductions were William Holman Hunts The Light of the World, an inspiring and highly influential image of Christ, and William Powell Friths The Derby Day. Gambart expanded into original works by 1849, by now established with an address in Londons Pall Mall, his first exhibition was the bronzes of Pierre-Jules Mène, sculptor of animals. In time, his exhibitions, often featuring French artists, became known as the French Gallery, later moving to King Street, St. James, Gambart would alternate British artists with those of Continental European ones. He was among the first to art in this way. Prior to his galleries, most fine art was sold by the artist directly to the buyer and his friendship with artists and buyers, including pen-maker and well-known patron Joseph Gillott, as well as with critics, would become a model for how modern art business would be run
Ernest Gambart
–
Ernest Gambart (1814–1902)
Ernest Gambart
–
Gambart discovered Sir Lawrence Alma-Tadema who may have been the most successful painter of the Victorian era.
Ernest Gambart
–
Arab Horses by Pierre-Jules Mêne (1851).
Ernest Gambart
–
Gambart's home in Nice, called Les Palmiers. It now houses the municipal archives of the city of Nice.
19.
Alfred Stevens (painter)
–
Alfred Émile Léopold Stevens was a Belgian painter, known for his paintings of elegant modern women. Alfred Stevens was born in Brussels and he came from a family involved with the visual arts, his older brother Joseph and his son Léopold were painters, while another brother Arthur was an art dealer and critic. His father, who had fought in the Napoleonic wars in the army of William I of the Netherlands, was an art collector who owned several watercolors by Eugène Delacroix, among other artists. His mothers parents ran Café de lAmitié in Brussels, a place for politicians, writers. All the Stevens children benefited from the people met there. Following a traditional curriculum, he drew from casts of classical sculpture for the first two years, and then drew from live models, in 1843, Stevens went to Paris, joining his brother Joseph who already was there. He was admitted to the École des Beaux-Arts, the most important art school in Paris, although it is said that he became a student of its director Jean Auguste Dominique Ingres, this is likely not true. An early picture by Stevens, The Pardon or Absolution, signed and dated 1849, like the Belgian painter and friend with whom he stayed in Paris, Florent Joseph Marie Willems, Stevens carefully studied works by painters such as Gerard ter Borch and Gabriel Metsu. Stevenss work was shown publicly for the first time in 1851 and he was awarded a third-class medal at the Paris Salon in 1853, and a second-class medal at the Universal Exposition in Paris in 1855. His Ce quon appelle le vagabondage attracted the attention of Napoleon III who, as a result of the scene in the picture, ordered that soldiers no longer be used to pick up the poor from the streets. In 1857, Stevens made his first important sale to a private collector, in 1858, Stevens married Marie Blanc, who came from a rich Belgian family and old friends of the Stevenss. Eugène Delacroix was a witness at the ceremony, during the 1860s, Stevens became an immensely successful painter, known for his paintings of elegant modern women. His exhibits at the Salons in Paris and Brussels attracted favorable critical attention, in 1863, he received the Legion of Honor from the French government. Stevens fought for the French during the siege of Paris in the Franco-Prussian War and they returned after the war, and Stevens continued to achieve critical acclaim as well as great success with collectors. In 1875, he bought a house and garden in Paris on rue des Martyrs. In 1878, he was made a Commander of the Legion of Honor, an additional expense came from summers by the sea, which a doctor told Stevens in 1880 were essential for his health. Thus the artist was glad to agree when the Paris dealer Georges Petit offered him 50,000 francs to finance his vacation in exchange for the paintings Stevens produced during that time, many of them are painted in a sketchy style that shows the influence of the Impressionists. Stevens also began to take students, including Sarah Bernhardt, who became a close personal friend
Alfred Stevens (painter)
–
Alfred Stevens
Alfred Stevens (painter)
–
La Parisienne japonaise 1872 Musée d'art moderne et d'art contemporain,
Liège
Alfred Stevens (painter)
–
Elegant Figures in a Salon
Alfred Stevens (painter)
–
Alfred Stevens Le Bain
20.
Claude Monet
–
Monets ambition of documenting the French countryside led him to adopt a method of painting the same scene many times in order to capture the changing of light and the passing of the seasons. From 1883 Monet lived in Giverny, where he purchased a house and property, Claude Monet was born on 14 November 1840 on the fifth floor of 45 rue Laffitte, in the 9th arrondissement of Paris. He was the son of Claude Adolphe Monet and Louise Justine Aubrée Monet. On 20 May 1841, he was baptized in the parish church, Notre-Dame-de-Lorette, as Oscar-Claude. Despite being baptized Catholic, Monet later became an atheist, in 1845, his family moved to Le Havre in Normandy. His father wanted him to go into the familys ship-chandling and grocery business and his mother was a singer, and supported Monets desire for a career in art. On 1 April 1851, Monet entered Le Havre secondary school of the arts, locals knew him well for his charcoal caricatures, which he would sell for ten to twenty francs. Monet also undertook his first drawing lessons from Jacques-François Ochard, a student of Jacques-Louis David. On the beaches of Normandy around 1856 he met fellow artist Eugène Boudin, Boudin taught Monet en plein air techniques for painting. Both received the influence of Johan Barthold Jongkind, on 28 January 1857, his mother died. At the age of sixteen, he left school and went to live with his widowed, childless aunt, when Monet traveled to Paris to visit the Louvre, he witnessed painters copying from the old masters. Having brought his paints and other tools with him, he would go and sit by a window. Monet was in Paris for several years and met other painters, including Édouard Manet and others who would become friends. After drawing a low number in March 1861, Monet was drafted into the First Regiment of African Light Cavalry in Algeria for a seven-year period of military service. His prosperous father could have purchased Monets exemption from conscription but declined to do so when his son refused to give up painting. While in Algeria Monet did only a few sketches of scenes, a single landscape. In a Le Temps interview of 1900 however he commented that the light, after about a year of garrison duty in Algiers, Monet contracted typhoid fever and briefly went absent without leave. Following convalescence, Monets aunt intervened to get him out of the army if he agreed to complete a course at an art school and it is possible that the Dutch painter Johan Barthold Jongkind, whom Monet knew, may have prompted his aunt on this matter
Claude Monet
–
Claude Monet, photo by
Nadar, 1899.
Claude Monet
–
Impression, Sunrise (Impression, soleil levant), 1872; the painting that gave its name to the style.
Musée Marmottan Monet, Paris
Claude Monet
–
The Woman in the Green Dress,
Camille Doncieux, 1866,
Kunsthalle Bremen
Claude Monet
–
Le déjeuner sur l'herbe, (right section), 1865–1866, with
Gustave Courbet,
Frédéric Bazille and Camille Doncieux, first wife of the artist,
Musée d'Orsay,
Paris
21.
Franco-Prussian War
–
The conflict was caused by Prussian ambitions to extend German unification and French fears of the shift in the European balance of power that would result if the Prussians succeeded. On 16 July 1870, the French parliament voted to declare war on the German Kingdom of Prussia, the German coalition mobilised its troops much more quickly than the French and rapidly invaded northeastern France. The German forces were superior in numbers, had training and leadership and made more effective use of modern technology, particularly railroads. The German states proclaimed their union as the German Empire under the Prussian king Wilhelm I, the Treaty of Frankfurt of 10 May 1871 gave Germany most of Alsace and some parts of Lorraine, which became the Imperial territory of Alsace-Lorraine. French determination to regain Alsace-Lorraine and fear of another Franco-German war, along with British apprehension about the balance of power, the causes of the Franco-Prussian War are deeply rooted in the events surrounding the unification of Germany. In the aftermath of the Austro-Prussian War of 1866, Prussia had annexed numerous territories and this new power destabilized the European balance of power established by the Congress of Vienna in 1815 after the Napoleonic Wars. France was strongly opposed to any further alliance of German states, in Prussia, some officials considered a war against France both inevitable and necessary to arouse German nationalism in those states that would allow the unification of a great German empire. Bismarck also knew that France should be the aggressor in the conflict to bring the southern German states to side with Prussia, many Germans also viewed the French as the traditional destabilizer of Europe, and sought to weaken France to prevent further breaches of the peace. The immediate cause of the war resided in the candidacy of Leopold of Hohenzollern-Sigmaringen, France feared encirclement by an alliance between Prussia and Spain. The Hohenzollern princes candidacy was withdrawn under French diplomatic pressure, releasing the Ems Dispatch to the public, Bismarck made it sound as if the king had treated the French envoy in a demeaning fashion, which inflamed public opinion in France. They also argue that he wanted a war to resolve growing domestic political problems, other historians, notably French historian Pierre Milza, dispute this. According to Milza, the Emperor had no need for a war to increase his popularity, the Ems telegram had exactly the effect on French public opinion that Bismarck had intended. This text produced the effect of a red flag on the Gallic bull, gramont, the French foreign minister, declared that he felt he had just received a slap. Napoleons new prime minister, Emile Ollivier, declared that France had done all that it could humanly and honorably do to prevent the war, a crowd of 15–20,000 people, carrying flags and patriotic banners, marched through the streets of Paris, demanding war. On 19 July 1870 a declaration of war was sent to the Prussian government, the southern German states immediately sided with Prussia. The French Army consisted in peacetime of approximately 400,000 soldiers, some of them were veterans of previous French campaigns in the Crimean War, Algeria, the Franco-Austrian War in Italy, and in the Mexican campaign. Under Marshal Adolphe Niel, urgent reforms were made, universal conscription and a shorter period of service gave increased numbers of reservists, who would swell the army to a planned strength of 800,000 on mobilisation. Those who for any reason were not conscripted were to be enrolled in the Garde Mobile, however, the Franco-Prussian War broke out before these reforms could be completely implemented
Franco-Prussian War
–
Clockwise from top left: Prussian infantry at the
Battle of Spicheren;
Jeanniot 's 1886 La ligne de feu (
Battle of Mars-La-Tour);
Werner 's depiction of the
capitulation of Sedan;
Neuville 's 1873 Les dernières cartouches (
Battle of Bazeilles).
Franco-Prussian War
–
A French
mitrailleuse in the
Bundeswehr Military History Museum
Franco-Prussian War
–
French reservists responding to the call.
Franco-Prussian War
–
Map of German and French armies near their common border on 31 July 1870
22.
Garde Nationale
–
The National Guard was originally a French militia which existed from 1789 until 1872, including a period of official disbandment from 1827 to 1830. It was separate from the French Army and existed both for policing and as a military reserve, for most of its history the National Guard, particularly its officers, were widely viewed as loyal to middle-class interests. This had rapidly spread anger and violence throughout Paris, the National Assembly declared the formation of a Bourgeois Militia on 13 July. In the early morning of the day, the search for weapons for this new militia led to the storming of the Hotel des Invalides. Lafayette was elected to the post of commander in chief of the Bourgeois Militia on 15 July, similar bodies were spontaneously created in the towns and rural districts of France in response to widespread fears of chaos or counter-revolution. When the French Guards mutinied and were disbanded during the same month, the officers of the National Guard were elected. Under the law of 14 October 1791, all active citizens and their role was the maintenance of law and order and, if necessary, the defence of the territory. Following a nationwide scheme decided on in September 1791, the National Guard was organised on the basis of district or canton companies, five of these neighbourhood units made up a battalion. Eight to ten battalions comprised a legion, districts might also provide companies of veterans and young citizens, respectively drawn from volunteers of over 60 or under 18. Where possible, there was provision for mounted detachments and artillerymen, the citizens kept their weapons and their uniforms at home, and set forth with them when required. This combination of colours matched those of the revolutionary tricolour, the former Guet royal had held responsibility for the maintenance of law and order in Paris from 1254 to 1791, when the National Guard took over this role. In fact, the last commander of the Guet royal, de La Rothière, was elected to head the National Guard in 1791, in the summer of 1792, the fundamental character of the guard changed. After 9 Thermidor, year II, the new government of the Thermidorian Reaction placed the National Guard under the control of conservative leadership. The Paris National Guard thereafter ceased to play a significant political role, napoleon did not believe that the middle-class National Guard would be able to maintain order and suppress riots. Therefore, he created a Municipal Guard of Paris, a full-time gendarmerie which was strongly militarised, however, he did not abolish the National Guard, but was content to partially disarm it. He kept the force in reserve and mobilised it for the defence of French territory in 1809 and 1814, between 1811 and 1812 the National Guard, was organized in cohorts to distinguish it from the regular army, and for home defence only. By a skilful appeal to patriotism, and judicious pressure applied through the prefects, with the invasion of France by allied Austrian, Prussian, Russian and British armies in 1814, the National Guard was suddenly called on to provide support for regular Imperial forces. Existing National Guard units, such as those of Paris, were deployed as defence corps in their areas of recruitment, mass conscription was extended to age groups previously exempt from military service, to provide more manpower for the expanded National Guard
Garde Nationale
–
Philippe Lenoir, (1785–1867), French painter, in his National Guard uniform. By
Horace Vernet (1789–1863)
Garde Nationale
–
Mssr. Hepp, commander of the National Guard of Strasbourg in 1790
Garde Nationale
–
Soldiers of the Garde nationale of
Quimper escorting royalist rebels in
Brittany (1792). Painting by
Jules Girardet.
Garde Nationale
–
The national Guard of Paris at the
Battle of Paris, 1814
23.
Paris Commune
–
The Paris Commune was a radical socialist and revolutionary government that ruled Paris from 18 March to 28 May 1871. Following the defeat of Emperor Napoleon III in September 1870, the French Second Empire swiftly collapsed, in its stead rose a Third Republic at war with Prussia, which laid siege to Paris for four months. A hotbed of radicalism, Frances capital was primarily defended during this time by the often politicized. In February 1871 Adolphe Thiers, the new executive of the French national government, signed an armistice with Prussia that disarmed the Army. Soldiers of the Communes National Guard killed two French army generals, and the Commune refused to accept the authority of the French government, the regular French Army suppressed the Commune during La semaine sanglante beginning on 21 May 1871. Debates over the policies and outcome of the Commune had significant influence on the ideas of Karl Marx, on 2 September 1870, after Frances unexpected defeat at the Battle of Sedan in the Franco-Prussian War, Emperor Napoleon III surrendered to the Prussian Chancellor Otto von Bismarck. When the news reached Paris the next day, shocked and angry crowds came out into the streets, Empress Eugénie de Montijo, the Emperors regent, fled the city, and the Government of the Second Empire swiftly collapsed. Republican and radical deputies of the National Assembly went to the Hôtel de Ville, proclaimed the new French Republic, though the Emperor and the French Army had been defeated at Sedan, the war continued. The German army marched swiftly toward Paris, in Paris, however, the republican candidates dominated, winning 234,000 votes against 77,000 for the Bonapartists. Only about 40,000 were employed in factories and large enterprises, most were employed in industries in textiles, furniture. There were also 115,000 servants and 45,000 concierges, in addition to the native French population, there were about 100,000 immigrant workers and political refugees, the largest number being from Italy and Poland. The working class and immigrants suffered the most from the lack of activity due to the war. The Commune resulted in part from growing discontent among the Paris workers and this discontent can be traced to the first worker uprisings, the Canut Revolts, in Lyon and Paris in the 1830s. Many Parisians, especially workers and the classes, supported a democratic republic. They also wanted a more just way of managing the economy, if not necessarily socialist, socialist movements, such as the First International, had been growing in influence with hundreds of societies affiliated to it across France. In early 1867, Parisian employers of bronze-workers attempted to de-unionize their workers and this was defeated by a strike organized by the International. Later in 1867, a public demonstration in Paris was answered by the legal dissolution of its executive committee. The International had considerable influence even among unaffiliated French workers, particularly in Paris, the killing of journalist Victor Noir incensed Parisians, and the arrests of journalists critical of the Emperor did nothing to quiet the city
Paris Commune
–
A barricade on Rue Voltaire, after its capture by the regular army during the Bloody Week
Paris Commune
–
Louis Auguste Blanqui, leader of the Commune's far-left faction, was imprisoned for the entire time of the Commune.
Paris Commune
–
Eugène Varlin led several thousand National Guard soldiers to march to the Hotel de Ville chanting 'Long Live the Commune!".
Paris Commune
–
Revolutionary units of the National Guard briefly seized the Hotel de Ville on 31 October 1870, but the uprising failed.
24.
Francis Seymour Haden
–
Sir Francis Seymour Haden CMG, was an English surgeon, best known as an etcher. He was born in London, his father, Charles Thomas Haden, being a well-known doctor and he was educated at Derby School, Christs Hospital, and University College, London, and also studied at the Sorbonne, Paris, where he took his degree in 1840. He was admitted as a member of the College of Surgeons in London in 1842, in 1843–44, with his friends Duval, Le Cannes and Colonel Guibout, he travelled to Italy and made his first sketches from nature. Arranging the prints in order, he studied the works of the great original engravers, Albrecht Dürer, Lucas van Leyden. Hadens printmaking was invigorated by his much younger brother-in-law, James McNeill Whistler, a press was installed there and for a while Haden and Whistler collaborated on a series of etchings of the Thames. The relationship and project did not last, Haden followed the art of original etching with such vigour that he became not only the foremost British exponent of that art but brought about its revival in England. His strenuous efforts and perseverance, aided by the ability of Sir WR Drake. As president he ruled the society with a hand from its first beginnings in 1880. Notwithstanding his study of the old masters of his art, Hadens own plates were very individual and he preferred to work directly onto the plate in front of the subject. Malcolm Salaman wrote of Haden drawing from nature with that breadth, freedom, and spontaneity of effect, even when working from a picture by another artist his personality dominates the plate, as for example in the large plate he etched after J. M. W. Turners Calais Pier, which is an example of what interpretative work can do in black. Of his original plates, more than 250 in number, one of the most notable was the large Breaking up of the Agamemnon, an early plate, rare and most beautiful, is Thames Fisherman. Mytton Hall is broad in treatment, and a rendering of a shady avenue of yew trees leading to an old manor-house in sunlight. Sub Tegmine was etched in Greenwich Park in 1859, and Early Morning--Richmond, full of the poetry and freshness of the hour, was done, according to Haden, a catalogue of his works was begun by Sir William Drake and completed by Harrington in 1880. During later years also Haden began to practise mezzotint engraving, with a measure of the success that he had already achieved in pure etching. His mezzotints include An Early Riser, a stag seen through the mists, Grayling Fishing. He also produced some drawings of trees and park-like country. Hadens studies of Rembrandt, besides influencing his work, led to his important monograph on the Dutch artists etchings
Francis Seymour Haden
–
Sir Francis Seymour Haden
Francis Seymour Haden
–
The Island Opposite Boyle's Farm, Upper Thames (1869)
Francis Seymour Haden
–
A Water Meadow,
Dallas Museum of Art
25.
Thomas Gibson Bowles
–
Thomas Gibson Tommy Bowles was the founder of the magazines The Lady and the English Vanity Fair, a sailor and the maternal grandfather of the Mitford sisters. He was the offspring of Thomas Milner Gibson and a servant girl named Susannah Bowles. He attended school in France and then studied for a year at Kings College London and his father gave him a yearly stipend of £90 and helped him find a job at Somerset House. He began his journalism and publishing career by writing a column for the Morning Post in 1866 and his coverage of the Siege of Paris sent by balloon and pigeon post ensured his fame. He borrowed £200 to found Vanity Fair in 1868, shattered by the death of his wife Jessica in childbirth, he sold his stake in Vanity Fair to Arthur H. Evans in 1887 for £20,000. He founded The Lady magazine in 1885, supposedly spurred by advice Jessica had once given to him and he became a competent sailor and wrote for decades in support of the Royal Navy. Bowles compiled the notes that went with the caricatures. He was editor for twenty years and shaped magazine policy so that no-one was exempt from his enquiring eye and this approach made for an entertaining and popular magazine. The targets of Jehu Juniors satire usually considered themselves honored to have been chosen, Bowles managed to achieve this extraordinarily difficult balancing act throughout his association with the magazine. At the 1892 general election, he was elected as Conservative Party Member of Parliament for Kings Lynn and he was re-elected at the January 1910 as a Liberal, but lost his seat again at the December 1910 election. He died while on a holiday at Algeciras, Spain, and is buried in Gibraltar, in 1875 he married Jessica, daughter of General Charles Evans-Gordon, a descendant of Gordon of Lochinvar, and his wife Catherine, née Rose. According to his granddaughter Julia Budworth, Bowles also fathered the last three of the four children of assistant Rita Shell, who changed her surname to Stewart and she later became editor of The Lady. They were Humphrey, Oliver and Peter, Peter Stewart later assisted at Marlborough House when it was used by Queen Mary. The Log of the Nereid by Thomas Bowles The Irrepressible Victorian by Leonard Naylor The Fall of Paris, The Siege, by Alistair Horne London, Macmillan,1965
Thomas Gibson Bowles
–
Thomas Gibson Bowles (
George Spencer Watson, 1901)
Thomas Gibson Bowles
–
"Tommy". Caricature by
Spy published in
Vanity Fair in 1889.
26.
Vanity Fair (British magazine)
–
The second Vanity Fair was a British weekly magazine published from 1868 to 1914. Subtitled A Weekly Show of Political, Social and Literary Wares, it was founded by Thomas Gibson Bowles, the first issue appeared in London on 7 November 1868. It offered its readership articles on fashion, current events, the theatre, books, social events, Thomas Allinson bought the magazine in 1911 from Frank Harris, by which time it was failing financially. He failed to revive it and the issue of Vanity Fair appeared on 5 February 1914, after which it was merged into Hearth. A full-page, colour lithograph of a celebrity or dignitary appeared in most issues. Subjects included artists, athletes, royalty, statesmen, scientists, authors, actors, soldiers, religious personalities, business people and scholars. More than two thousand of these images appeared, and they are considered the cultural legacy of the magazine
Vanity Fair (British magazine)
–
Cover, 1 September 1896 issue
Vanity Fair (British magazine)
–
Winter supplement (23 November 1899); double print: Caricature of
The trial of Dreyfus
Vanity Fair (British magazine)
–
The Duke of Abercorn by
Carlo Pellegrini in 25 September 1869 issue
Vanity Fair (British magazine)
–
Mansur Ali Khan of Bengal by "Atn"
Alfred Thompson in 16 April 1870 issue
27.
Edmond de Goncourt
–
Edmond de Goncourt, born Edmond Louis Antoine Huot de Goncourt, was a French writer, literary critic, art critic, book publisher and the founder of the Académie Goncourt. For much of his life, he collaborated with his brother Jules creating works of art criticism and he bequeathed his entire estate for the foundation and maintenance of the Académie Goncourt. In honour of his brother and collaborator, Jules de Goncourt, each December since 1903 and it is the most prestigious prize in French language literature, given to the best imaginary prose work of the year. Marcel Proust, Simone de Beauvoir, Michel Tournier, Marguerite Duras, Romain Gary, Edmond de Goncourt died in Champrosay in 1896, and was interred in the Cimetière de Montmartre in Paris. A painting in a museum hears more ridiculous opinions than anything else in the world, if there is a God, atheism must seem to Him as less of an insult than religion. Goncourt brothers Works by Edmond de Goncourt at Project Gutenberg Works by or about Edmond de Goncourt at Internet Archive Blog dedicated to Edmond and Jules de Goncourt
Edmond de Goncourt
–
Edmond before 1877 by
Nadar.
28.
Berthe Morisot
–
Berthe Marie Pauline Morisot was a painter and a member of the circle of painters in Paris who became known as the Impressionists. She was described by Gustave Geffroy in 1894 as one of les trois grandes dames of Impressionism alongside Marie Bracquemond, in 1864, she exhibited for the first time in the highly esteemed Salon de Paris. Sponsored by the government, and judged by Academicians, the Salon was the official, annual exhibition of the Académie des beaux-arts in Paris and it was held at the studio of the photographer Nadar. She was married to Eugène Manet, the brother of her friend, Morisot was born in Bourges, France, into an affluent bourgeois family. Her father, Edmé Tiburce Morisot, was the prefect of the department of Cher and he also studied architecture at École des Beaux Arts. Her mother, Marie-Joséphine-Cornélie Thomas, was the great-niece of Jean-Honoré Fragonard and she had two older sisters, Yves and Edma, plus a younger brother, Tiburce, born in 1848. The family moved to Paris in 1852, when Morisot was a child and it was common practice for daughters of bourgeois families to receive art education, so Berthe and her sisters Yves and Edma were taught privately by Geoffroy-Alphonse Chocarne and Joseph Guichard. Morisot and her sisters initially started taking lessons so that they could make a drawing for their father for his birthday. In 1857 Guichard, who ran a school for girls in Rue des Moulins, introduced Berthe and Edma to the Louvre gallery where they could learn by looking and he also introduced them to the works of Gavarni. Guichard later became the director of École des Beaux Arts where Morisots father earned his degree, as art students, Berthe and Edma worked closely together until Edma married Adolphe Pontillon, a naval officer, moved to Cherbourg, had children, and had less time to paint. Letters between the show a loving relationship, underscored by Berthes regret at the distance between them and Edmas withdrawal from painting. Edma wholeheartedly supported Berthes continued work and their families always remained close, Edma wrote “… I am often with you in thought, dear Berthe. I’m in your studio and I like to slip away, if only for a quarter of an hour and her sister Yves married Theodore Gobillard, a tax inspector, in 1866, and was painted by Edgar Degas as Mrs Theodore Gobillard. In 1860, under Corots influence she took up the plein air method of working, by 1863 she was studying under Achille Oudinot, another Barbizon painter. In the winter of 1863–64 she studied sculpture under Aimé Millet, Morisots first appearance in the Salon de Paris came at the age of twenty-three in 1864, with the acceptance of two landscape paintings. She continued to show regularly in the Salon, to favorable reviews, until 1873. She exhibited with the Impressionists from 1874 onwards, only missing the exhibition in 1878 when her daughter was born, Morisots mature career began in 1872. She found an audience for her work with Durand-Ruel, the private dealer, in 1877, she was described by the critic for Le Temps as the one real Impressionist in this group
Berthe Morisot
–
Berthe Morisot, 1875
Berthe Morisot
–
Berthe Morisot, Portrait de Mme Morisot et de sa fille Mme Pontillon ou La lecture (The Mother and Sister of the Artist - Marie-Joséphine & Edma) 1869/70
Berthe Morisot
–
Berthe Morisot, The Cradle, 1872,
Musée d'Orsay
Berthe Morisot
–
Berthe Morisot, Grain field, c.1875,
Musée d'Orsay
29.
Kathleen Newton
–
Kathleen Kate Newton was the Irish muse and mistress of French artist James Jacques Tissot. Kathleen Irene Ashburnham Kate Kelly was descended from an Irish Catholic medical family and raised in Agra and her father, Charles Frederick Ashburnham Kelly, an Irish army officer, was employed by the East India Company in Lahore, her mother, Flora Boyd, was from Ireland. Kate had two siblings, Frederick W. D. and Mary Pauline, around the time of the Sepoy Rising of 1858, Kates father was transferred to Agra, a city famous for the Taj Mahal, where he rose to the rank of chief adjutant and accountant officer. He retired to London in the 1860s, Kelly made a match for his sixteen-year-old daughter Kate with Isaac Newton, a surgeon with the Indian Civil Service. On the outward voyage to be married, Captain Palliser became obsessed with her beauty, after the marriage in January 1870 and before consummation, Kate, reportedly upon the advice of a Catholic priest, explained to Isaac the situation regarding the captain. Newton instituted divorce proceedings and sent her back to England, the captain paid for her passage, the deal being that in return she would become his mistress. She became pregnant but refused to marry Palliser and her daughter, Muriel Violet Mary Newton, was born in Yorkshire on 20 December 1871 on the same day that her decree nisi came through. The decree absolute for her divorce was granted 20 July 1872, Kate and Violet went to live with Kates married sister Pollys family at Hill Road, St Johns Wood. Following his involvement in the events of the Paris commune in 1871, French painter Jacques Tissot moved to London, changed his name to James, in March 1876 she gave birth to her son, Cecil George Newton Ashburnham. Tissot is believed to have been the childs father, Kate and her children moved into his home at #17 Grove End Road. That same year she appeared for the first time in his painting A Passing Storm, after 1876 Tissots paintings tended to reflect domestic scenes rather than society life. She was called ravissante Irlandaise, and Tissot was fascinated by the conflict of her Irish Catholic background, divorce, Tissot described their life as domestic bliss, but Kate contracted tuberculosis. As her health declined, Tissots art subtly changed again, reflecting themes of illness or departure and she was unable to watch his grief and overdosed on laudanum, dying in November 1882. Tissot sat by her coffin for four days and she was buried in plot 2903A in St Marys Cemetery, Kensal Green. Kathleen Mavourneen, American painter becomes infatuated with a young woman he calls Kathleen Mavourneen. A Type of Beauty, the story of Kathleen Newton, cape Press, ISBN 978-0-9563632-0-6 Tissot, James Tissot. Victorian Life, Modern Love, Yale Center for British Art, ISBN 978-0-930606-89-3 Wood, Tissot, Scientific London Weidenfield and Nicolson. Media related to Kathleen Newton at Wikimedia Commons
Kathleen Newton
–
Painting by
Jacques Tissot, A Type of Beauty.
Kathleen Newton
–
The Tedious Story, model, Kathleen
Kathleen Newton
–
James Tissot - Mavourneen
30.
Japanese art
–
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
–
Cypress Tree Byōbu, folding screen by
Kano Eitoku, 1590
Japanese art
–
Sudden Shower at the Atake Bridge,
Hiroshige, 1856
Japanese art
–
Crab,
Kawahara Keiga, 1823-1829
Japanese art
–
Statuette with Snow Glasses, Jōmon Era
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Chisholm, Hugh, ed. (1911). "Tissot, James Joseph Jacques". Encyclopædia Britannica. 26 (11th ed.). Cambridge University Press. pp. 1015–1016.
Chisholm, Hugh, ed. (1911). "
