1.
Self-portrait
–
A self-portrait is a representation of an artist that is drawn, painted, photographed, or sculpted by that artist. With better and cheaper mirrors, and the advent of the panel portrait, Portrait of a Man in a Turban by Jan van Eyck of 1433 may well be the earliest known panel self-portrait. He painted a portrait of his wife, and he belonged to the social group that had begun to commission portraits. The genre is venerable, but not until the Renaissance, with increased wealth and interest in the individual as a subject, a self-portrait may be a portrait of the artist, or a portrait included in a larger work, including a group portrait. Many painters are said to have included depictions of specific individuals, including themselves, in these works, the artist usually appears as a face in the crowd or group, often towards the edges or corner of the work and behind the main participants. Rubenss The Four Philosophers is a good example and this culminated in the 17th century with the work of Jan de Bray. Many artistic media have used, apart from paintings, drawings. In the famous Arnolfini Portrait, Jan van Eyck is probably one of two figures glimpsed in a mirror – a surprisingly modern conceit. The Van Eyck painting may have inspired Diego Velázquez to depict himself in view as the painter creating Las Meninas, as the Van Eyck hung in the palace in Madrid where he worked. This was another modern flourish, given that he appears as the painter, in what may be one of the earliest childhood self-portraits now surviving, Albrecht Dürer depicts himself as in naturalistic style as a 13-year-old boy in 1484. In later years he appears variously as a merchant in the background of Biblical scenes, leonardo da Vinci may have drawn a picture of himself at the age of 60, in around 1512. The picture is often reproduced as Da Vincis appearance, although this is not certain. In the 17th century, Rembrandt painted a range of self-portraits, family and professional group paintings, including the artists depiction, became increasingly common from the 17th century on. From the later 20th century on, video plays a part in self-portraiture. Vigée-Lebrun painted a total of 37 self-portraits, many of which were copies of earlier ones, Women artists have historically embodied a number of roles within their self-portraiture. Most common is the artist at work, showing themselves in the act of painting, or at least holding a brush and palette. Often, the viewer if the clothes worn were those they normally painted in. Images of artists at work are encountered in Ancient Egyptian painting, one of the first self-portraits was made by the Pharaoh Akhenatens chief sculptor Bak in 1365 BC
Self-portrait
–
Raphael, c. 1517–1518,
Uffizi Gallery
Self-portrait
Self-portrait
–
Pieter Claesz, Vanitas with Violin and Glass Ball, the artist is visible in the reflection, 1625.
Self-portrait
–
Sandro Botticelli 's painting of the
Adoration of the Magi has an "inserted self-portrait". The position in the (right) corner, and the gaze out to the viewer, are very typical of such self-portraits.
2.
Pastel
–
A pastel is an art medium in the form of a stick, consisting of pure powdered pigment and a binder. The pigments used in pastels are the same as used to produce all colored art media, including oil paints. The color effect of pastels is closer to the natural dry pigments than that of any other process, Pastels have been used by artists since the Renaissance, and gained considerable popularity in the 18th century, when a number of notable artists made pastel their primary medium. An artwork made using pastels is called a pastel, Pastel used as a verb means to produce an artwork with pastels, as an adjective it means pale in color. Pastel sticks or crayons consist of powdered pigment combined with a binder. The exact composition and characteristics of an individual pastel stick depends on the type of pastel and it also varies by individual manufacturer. Dry pastels have historically used binders such as gum arabic and gum tragacanth, methyl cellulose was introduced as a binder in the twentieth century. Often a chalk or gypsum component is present and they are available in varying degrees of hardness, the softer varieties being wrapped in paper. Some pastel brands use pumice in the binder to abrade the paper, dry pastel media can be subdivided as follows, Soft pastels, This is the most widely used form of pastel. The sticks have a portion of pigment and less binder. The drawing can be readily smudged and blended, but it results in a proportion of dust. White chalk may be used as a filler in producing pale, Pan Pastels, These are formulated with a minimum of binder in flat compacts and applied with special Soft micropore sponge tools. A 21st-century invention, Pan Pastels can be used for the painting or in combination with soft. Hard pastels, These have a portion of binder and less pigment. These can be used with other pastels for drawing outlines and adding accents, hard pastels are traditionally used to create the preliminary sketching out of a composition. However, the colors are brilliant and are available in a restricted range in contrast to soft pastels. Pastel pencils, These are pencils with a pastel lead and they are useful for adding fine details. In addition, pastels using a different approach to manufacture have been developed, Oil pastels, These have a soft, buttery consistency and they are dense and fill the grain of paper and are slightly more difficult to blend than soft pastels, but do not require a fixative
Pastel
–
Commercial pastels
Pastel
–
A young woman with pastel box and painting
Pastel
–
Georg Anton Urlaub (1713–1759) holding a box of pastels in his hands. Selfportrait, 1735
Pastel
–
Ants Laikmaa Taebla landscape from 1936.
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
–
Flag
France
–
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.
Still life
–
A still life is a work of art depicting mostly inanimate subject matter, typically commonplace objects which may be either natural or man-made. Still life gives the artist more freedom in the arrangement of elements within a composition than do paintings of other types of such as landscape or portraiture. Early still-life paintings, particularly before 1700, often contained religious, some modern still life breaks the two-dimensional barrier and employs three-dimensional mixed media, and uses found objects, photography, computer graphics, as well as video and sound. Still life emerged from the painting of details in larger compositions with subjects, the term includes the painting of dead animals, especially game. Live ones are considered art, although in practice they were often painted from dead models. The still-life category also shares commonalities with zoological and especially botanical illustration, generally a still life includes a fully depicted background, and puts aesthetic rather than illustrative concerns as primary. Still life occupied the lowest rung of the hierarchy of genres, the trompe-lœil painting, which intends to deceive the viewer into thinking the scene is real, is a specialized type of still life, usually showing inanimate and relatively flat objects. Still-life paintings often adorn the interior of ancient Egyptian tombs and it was believed that food objects and other items depicted there would, in the afterlife, become real and available for use by the deceased. Ancient Greek vase paintings also demonstrate great skill in depicting everyday objects, by the 16th century, food and flowers would again appear as symbols of the seasons and of the five senses. Also starting in Roman times is the tradition of the use of the skull in paintings as a symbol of mortality and earthly remains and these vanitas images have been re-interpreted through the last 400 years of art history, starting with Dutch painters around 1600. As Pliny the Elder recorded in ancient Roman times, Greek artists centuries earlier were already advanced in the arts of painting, genre painting. He singled out Peiraikos, whose artistry is surpassed by only a very few, by 1300, starting with Giotto and his pupils, still-life painting was revived in the form of fictional niches on religious wall paintings which depicted everyday objects. Through the Middle Ages and the Renaissance, still life in Western art remained primarily an adjunct to Christian religious subjects, painters like Jan van Eyck often used still-life elements as part of an iconographic program. Petrus Christus’ portrait of a bride and groom visiting a goldsmith is an example of a transitional still life depicting both religious and secular content. Another similar type of painting is the family portrait combining figures with a table of food. Around this time, simple still-life depictions divorced of figures were beginning to be painted on the outside of shutters of private devotional paintings, another step toward the autonomous still life was the painting of symbolic flowers in vases on the back of secular portraits around 1475. This was a development by Pieter Aertsen, whose A Meat Stall with the Holy Family Giving Alms introduced the type with a painting that still startles. A small religious scene can often be out in the distance
Still life
–
Jan Brueghel the Elder (1568–1625), Bouquet (1599),
Kunsthistorisches Museum,
Vienna. Some of the earliest examples of still life were paintings of flowers by Northern Renaissance, Dutch, and Flemish painters.
Still life
–
Still life on a 2nd-century mosaic, with fish, poultry, dates and vegetables from the
Vatican museum
Still life
–
Glass bowl of fruit and vases.
Roman wall painting in
Pompeii (around 70 AD),
Naples National Archaeological Museum,
Naples,
Italy
Still life
–
Hans Memling (1430–1494), Vase of Flowers (1480), Museo Thyssen-Bornemisza,
Madrid. According to some scholars the Vase of Flowers is filled with religious symbolism.
5.
Genre works
–
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 works
–
The Idle Servant; housemaid troubles were the subject of several of
Nicolaes Maes ' works
Genre works
–
Peasant Dance, c. 1568, oil on wood, by
Pieter Brueghel the Elder
Genre works
–
Merry company, by Dirck Hals
Genre works
–
Interior with woman by
Wybrand Hendriks
6.
Impasto
–
Impasto is a technique used in painting, where paint is laid on an area of the surface very thickly, usually thick enough that the brush or painting-knife strokes are visible. Paint can also be mixed right on the canvas, when dry, impasto provides texture, the paint appears to be coming out of the canvas. The word impasto is Italian in origin, in that language it means dough or mixture, Italian usage of impasto includes both a painting and a potting technique. According to Websters New World College Dictionary, the noun of impasto is pasta. Oil paint is the medium for impasto painting, due to its thickness. Acrylic paint can also be used for impasto by adding heavy body acrylic gels, Impasto is generally not possible in watercolour or tempera without the addition of thickening agent due to the inherent thinness of these media. An artist working in pastels can produce a limited impasto effect by pressing a soft pastel firmly against the paper, first, it makes the light reflect in a particular way, giving the artist additional control over the play of light on the painting. Second, it can add expressiveness to the painting, the viewer being able to notice the strength, third, impasto can push a painting into a three-dimensional sculptural rendering. The first objective was originally sought by such as Rembrandt, Titian. Much later, the French Impressionists created entire canvases of rich impasto textures, vincent van Gogh used it frequently for aesthetics and expression. Still more recently, Frank Auerbach has used such heavy impasto that some of his paintings become almost three-dimensional, because impasto gives texture to the painting, it can be opposed to flat, smooth, or blending techniques. Selected examples of paintings which make use of the impasto technique Media related to Impasto at Wikimedia Commons Lindberg. Alfred Currier, Impasto National Portrait Gallery, London
Impasto
–
Still Life: Vase with Pink Roses is an oil painting on canvas completed by
Vincent van Gogh in 1890, which makes extensive use of the impasto technique.
Impasto
–
Crags and Crevices by
Jane Frank (1960). As with many
abstract expressionist works (and many so-called "
action paintings " as well), impasto is a prominent feature.
Impasto
–
Taos Mountain, Trail Home by
Cordelia Wilson (1920). An early 20th century landscape entirely executed with a bold impasto technique.
Impasto
–
Vsevolod Bazhenov, 1953, Altai Mountains
7.
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
–
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)
8.
Louis XV
–
Louis XV, known as Louis the Beloved, was a monarch of the House of Bourbon who ruled as King of France and Navarre from 1 September 1715 until his death. He succeeded his great-grandfather Louis XIV at the age of five, Cardinal Fleury was his chief minister from 1726 until the Cardinals death in 1743, at which time the young king took sole control of the kingdom. During his reign, Louis returned the Austrian Netherlands, territory won at the Battle of Fontenoy of 1745, Louis also ceded New France in North America to Spain and Great Britain at the conclusion of the Seven Years War in 1763. He incorporated the territories of Lorraine and Corsica into the kingdom of France and he was succeeded by his grandson Louis XVI in 1774. French culture and influence were at their height in the first half of the eighteenth century, however, many scholars believe that Louis XVs decisions damaged the power of France, weakened the treasury, discredited the absolute monarchy, and made it more vulnerable to distrust and destruction. Evidence for this view is provided by the French Revolution, which broke out 15 years after his death, norman Davies characterized Louis XVs reign as one of debilitating stagnation, characterized by lost wars, endless clashes between the Court and Parliament, and religious feuds. A few scholars defend Louis, arguing that his negative reputation was based on propaganda meant to justify the French Revolution. Jerome Blum described him as a perpetual adolescent called to do a mans job, Louis XV was born in the Palace of Versailles on 15 February 1710 during the reign of Louis XIV. His grandfather, Louis Le Grand Dauphin, had three sons with his wife Marie Anne Victoire of Bavaria, Louis, Duke of Burgundy, Philippe, Duke of Anjou, and Charles, Duke of Berry. Louis XV was the son of the Duke of Burgundy and his wife Marie Adélaïde of Savoy, the eldest daughter of Victor Amadeus II, Duke of Savoy. At birth, Louis XV received a title for younger sons of the French royal family. In April 1711, Louis Le Grand Dauphin suddenly died, making Louis XVs father, the Duke of Burgundy, at that time, Burgundy had two living sons, Louis, Duke of Brittany and his youngest son, the future Louis XV. A year later, Marie Adélaïde, Duchess of Burgundy, contracted smallpox and her husband, said to be heartbroken by her death, died the same week, also having contracted smallpox. Within a week of his death, it was clear that the two children had also been infected. The elder son was treated by bloodletting in an unsuccessful effort to save him. Fearing that the Dauphin would die, the Court had both the Dauphin and the Duke of Anjou baptised, the Dauphin died the same day,8 March 1712. His younger brother, the Duke of Anjou, was treated by his governess, Madame de Ventadour. The two year old Dauphin survived the smallpox, on 1 September 1715, Louis XIV died of gangrene, having reigned for 72 years
Louis XV
–
Louis XV by
Hyacinthe Rigaud (1730)
Louis XV
–
Signature
Louis XV
–
The duke of Brittany with his father Louis, Duke of Burgundy, his grandfather Louis, Le Grand Dauphin and his great-grandfather King Louis XIV in 1709. The future Louis XV, not yet born, is not on the painting.
Louis XV
–
Two
Louis d'or, 1717, depicting a very young Louis XV
9.
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.
10.
Pierre-Jacques Cazes
–
Pierre-Jacques Cazes was a French historical painter. He is also known as a teacher of artists, including Chardin, Cazes took the Prix de Rome for painting in 1699. In 1703, he part of the Académie, was named as director in 1743. He worked in the Galerie dApollon in the Louvre in 1727 and produced a number of religious paintings for churches in Paris. His historical painting is in the academic tradition as the French painters Charles Le Brun. He also painted paintings with motifs and genre scenes. A portrait the artist wearing a wig and holding a portfolio was presented to the Académie Royale in 1734 by Chardins friend Joseph Aved
Pierre-Jacques Cazes
–
Portrait of Pierre-Jacques Cazes, by
Joseph Aved.
Pierre-Jacques Cazes
–
"The Swing" — by Pierre-Jacques Cazes, 1732.
11.
Place Dauphine
–
The Place Dauphine is a public square located near the western end of the Île de la Cité in the first arrondissement of Paris. It was initiated by Henry IV in 1607, the second of his projects for public squares in Paris and he named it for his son, the Dauphin of France and future Louis XIII, who had been born in 1601. From the square, actually triangular in shape, one can access the middle of the Pont Neuf, a street called, since 1948, Rue Henri-Robert, forty metres long, connects the Place Dauphine and the bridge. Where they meet, there are two named places, the Place du Pont Neuf and the Square du Vert Galent. The Place Dauphine was laid out in 1607–10, when the Place Royale was still under construction. It was among the earliest city-planning projects of Henri IV, and was on a site created from part of the garden of the walled enclave known as the Palais de la Cité. There had been a pavilion, the Maison des Etuves, located in the western wall which overlooked two riverine islets, scarcely more than mudbanks at the time. The Place Dauphine was to occupy the part of the garden. There were two entrances to the square, one in the middle of the range and the second at the western point. The western gateway was formed by paired pavilions facing the bridge, the last of the houses to be constructed was finished in 1616. Originally all were built more or less the specified facades. These were faced with brick and limestone quoins, chaînes, in fact, behind the facades, the houses themselves, built by separate buyers, varied with regard to plan and area. Since its construction, almost all of the surrounding the square have been raised in height, given new facades, rebuilt. Only two retain their appearance, those flanking the entrance facing the Pont Neuf. In 1792 during the Revolution the Place Dauphine was renamed Place Thionville, the former eastern range, heavily damaged by fire during the fighting of the Paris Commune of 1871, was swept aside to open the view toward the Palais de Justice. The Place Dauphine is, It is served by lines 4 and 7, the Paris of Henri IV, Architecture and Urbanism. Art and Architecture in France, 1500–1700, fifth edition revised by Richard Beresford, la Place Dauphine Media related to Place Dauphine at Wikimedia Commons
Place Dauphine
–
The Place Dauphine in 1739 (north is toward the lower left)
Place Dauphine
–
Place Dauphine
Place Dauphine
–
Two buildings erected c. 1612, facing the
Pont Neuf and flanking the entrance to the Place Dauphine
Place Dauphine
–
The Place Dauphine looking west toward the Pont Neuf
12.
Pont Neuf
–
The Pont Neuf is the oldest standing bridge across the river Seine in Paris, France. Its name, which was given to distinguish it from older bridges that were lined on both sides with houses, has remained after all of those were replaced. The bridge is composed of two spans, one of five arches joining the left bank to the Île de la Cité. Today the tip of the island is the location of the Square du Vert-Galant, as early as 1550, Henry II was asked to build a bridge here because the existing Pont Notre-Dame was overloaded, but the expense was too much at the time. In February 1578, the decision to build the bridge was made by Henry III who laid its first stone in 1578, further design changes were made during the summer of 1579. First, the number of arches was changed from eight and four to seven, second, it was decided to allow houses to be built on the bridge. This required the widening of the bridge, the remaining piers were built over the next nine years. After a long delay beginning in 1588, due to political unrest, the bridge was opened to traffic in 1604 and completed in July 1606. It was inaugurated by Henri IV in 1607, like most bridges of its time, The Pont Neuf is constructed as a series of many short arch bridges, following Roman precedents. The bridge had heavy traffic from the beginning, it was for a time the widest bridge in Paris. In 1885, one of the piers of the arm was undermined. A major restoration of the Pont Neuf was begun in 1994 and was completed in 2007, the mascarons are the stone masks,381 in number, each being different and which decorate the sides of the bridge. They represent the heads of forest and field divinities from ancient mythology, as well as satyrs, the mascarons remained in place until 1851-1854, when the bridge was completely rebuilt. At that time six of the original mascarons from the 16th century were placed in the Musée Carnavalet, eight other originals were first placed in the Musée national du Moyen Âge, and are now in the French National Museum of the Renaissance in the Château dÉcouen. Fontenelle made sixty-one masks which are found on the side of the bridge between the right bank and the Île de la Cité. After his death, Giambolognas assistant Pietro Tacca completed the statue and it was destroyed in 1792 during the French Revolution, but was rebuilt in 1818, following the restoration of the Bourbon monarchy. Bronze for the new statue was obtained with the bronze from a statue of Louis Charles Antoine Desaix, as well as from the statue of Napoleon in Place Vendôme, the new statue was cast from a mold made using a surviving cast of the original. The last Grand Master of the Knights Templar, Jacques de Molay, was burned at the stake on March 18,1314, on the Île aux Juifs, the execution was ordered by Philippe le Bel after Jacques retracted all of his previous confessions, which outraged Philip
Pont Neuf
–
Pont Neuf at sunset.
Pont Neuf
–
Painting of the Pont Neuf project as approved by
King Henry III in 1578. The bridge was ultimately completed in 1607 with a less ornate design.
Pont Neuf
–
The Pont Neuf in 1615
Pont Neuf
–
The Pont Neuf in 1763
13.
Jean-Baptiste van Loo
–
Jean-Baptiste van Loo was a French subject and portrait painter. He was born in Aix-en-Provence, and was instructed in art by his father Louis-Abraham van Loo and he was patronized by the prince of Carignan, who sent him to Rome, where he studied under Benedetto Luti. He was much employed painting for churches in Rome, and in particular executed a greatly praised Scourging of Christ for the church of Santa Maria in Monticelli, at Turin he painted Charles Emmanuel II, Duke of Savoy and several members of his court. He also painted Sir Robert Walpole, whose portrait by van Loo in his robes as chancellor of the exchequer is in the National Portrait Gallery, London, and the prince and princess of Wales. He did not, however, practise long in England, for his health failing he retired to Paris in 1742, and afterwards to Aix and his likenesses were striking and faithful, but seldom flattering, and his heads are forcible in coloring. His younger brother, Charles-André van Loo, was also a painter, two of his sons were notable painters, Louis-Michel van Loo and Charles-Amédée-Philippe van Loo. John Giles Eccardt, one of his apprentices, also became a portrait painter in Britain. This article incorporates text from a now in the public domain, Chisholm, Hugh. Media related to Jean-Baptiste van Loo at Wikimedia Commons
Jean-Baptiste van Loo
–
Portrait of Jean-Baptiste van Loo
Jean-Baptiste van Loo
–
The Triumph of
Galatea, 1720 (
Hermitage Museum).
Jean-Baptiste van Loo
–
Louis XV, King of France and Navarre, c. 1723 (
Palace of Versailles).
Jean-Baptiste van Loo
–
Louis XV Conferring the Order of the Holy Spirit on the Count de Clermont, 1730 (Palace of Versailles).
14.
Fresco
–
Fresco is a technique of mural painting executed upon freshly-laid, or wet lime plaster. Water is used as the vehicle for the pigment to merge with the plaster, and with the setting of the plaster, the fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting. Buon fresco pigment mixed with water of temperature on a thin layer of wet, fresh plaster, for which the Italian word for plaster. Because of the makeup of the plaster, a binder is not required, as the pigment mixed solely with the water will sink into the intonaco. The pigment is absorbed by the wet plaster, after a number of hours, many artists sketched their compositions on this underlayer, which would never be seen, in a red pigment called sinopia, a name also used to refer to these under-paintings. Later, new techniques for transferring paper drawings to the wall were developed. The main lines of a drawing made on paper were pricked over with a point, the paper held against the wall, if the painting was to be done over an existing fresco, the surface would be roughened to provide better adhesion. This area is called the giornata, and the different day stages can usually be seen in a large fresco, buon frescoes are difficult to create because of the deadline associated with the drying plaster. Once a giornata is dried, no more buon fresco can be done, if mistakes have been made, it may also be necessary to remove the whole intonaco for that area—or to change them later, a secco. An indispensable component of this process is the carbonatation of the lime, the eyes of the people of the School of Athens are sunken-in using this technique which causes the eyes to seem deeper and more pensive. Michelangelo used this technique as part of his trademark outlining of his central figures within his frescoes, in a wall-sized fresco, there may be ten to twenty or even more giornate, or separate areas of plaster. After five centuries, the giornate, which were nearly invisible, have sometimes become visible, and in many large-scale frescoes. Additionally, the border between giornate was often covered by an a secco painting, which has fallen off. One of the first painters in the period to use this technique was the Isaac Master in the Upper Basilica of Saint Francis in Assisi. A person who creates fresco is called a frescoist, a secco or fresco-secco painting is done on dry plaster. The pigments thus require a medium, such as egg. Blue was a problem, and skies and blue robes were often added a secco, because neither azurite blue nor lapis lazuli. By the end of the century this had largely displaced buon fresco
Fresco
–
Fresco in the church Mariä Verkündigung in Fuchstal,
Bavaria, Germany from Thomas Springer
Fresco
–
Fresco
Sistine Chapel in the
Vatican, Rome, Italy.
Fresco
–
Etruscan fresco of Velia Velcha from the
Tomb of Orcus,
Tarquinia.
Fresco
–
Fresco of "
Sappho " from
Pompeii, c. 50 CE.
15.
Fontainebleau
–
Fontainebleau is a commune in the metropolitan area of Paris, France. It is located 55.5 kilometres south-southeast of the centre of Paris, Fontainebleau is a sub-prefecture of the Seine-et-Marne department, and it is the seat of the arrondissement of Fontainebleau. The commune has the largest land area in the Île-de-France region, Fontainebleau, together with the neighbouring commune of Avon and three other smaller communes, form an urban area of 39,713 inhabitants. This urban area is a satellite of Paris, inhabitants of Fontainebleau are called Bellifontains. Fontainebleau has been recorded in different Latinised forms, such as, Fons Bleaudi, Fons Bliaudi, Fons Blaadi in the 12th and 13th centuries and it became Fons Bellaqueus in the 17th century, which gave rise to the name of the inhabitants as Bellifontains. The name originates as a composite of two words, Fontaine– meaning spring, or fountainhead, followed by a person’s Germanic name Blizwald. This hamlet was endowed with a hunting lodge and a chapel by Louis VII in the middle of the twelfth century. A century later, Louis IX, also called Saint Louis, who held Fontainebleau in high esteem and referred to it as his wilderness, had a country house, philip the Fair was born there in 1268 and died there in 1314. In all, thirty-four sovereigns, from Louis VI, the Fat, to Napoleon III, the connection between the town of Fontainebleau and the French monarchy was reinforced with the transformation of the royal country house into a true royal palace, the Palace of Fontainebleau. On 18 October 1685, Louis XIV signed the Edict of Fontainebleau there, the result was that a large number of Protestants were forced to convert to the Catholic faith, killed, or forced into exile, mainly in the Low Countries, Prussia and in England. The 1762 Treaty of Fontainebleau, an agreement between France and Spain concerning the Louisiana territory in North America, was concluded here. Also, preliminary negotiations, held before the 1763 Treaty of Paris was signed, during the French Revolution, Fontainebleau was temporarily renamed Fontaine-la-Montagne, meaning Fountain by the Mountain. On 20 June 1812, Pope Pius VII arrived at the château of Fontainebleau, after a transfer from Savona, accompanied by his personal physician. In poor health, the Pope was the prisoner of Napoleon, from June 1812 until 23 January 1814, the Pope never left his apartments. According to contemporary sources, the occasion was very moving, the 1814 Treaty of Fontainebleau stripped Napoleon of his powers and sent him into exile on Elba. Until the 19th century, Fontainebleau was a village and a suburb of Avon, later, it developed as an independent residential city. For the 1924 Summer Olympics, the town played host to the portion of the modern pentathlon event. This event took place near a golf course, Fontainebleau also hosted the general staff of the Allied Forces in Central Europe and the land forces command, the air forces command was located nearby at Camp Guynemer
Fontainebleau
–
Palace of Fontainebleau
Fontainebleau
–
Fontainebleau palace garden fountain and Grand canal
Fontainebleau
–
Historical reenactment in Fontainebleau of the bicentenary of Napoleon's Farewell to the Old Guard, April 20th of 2014. Napoleon is going down the famous stairs of Fontainebleau castle to meet with the Old Guard.
16.
Salon (Paris)
–
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
Salon (Paris)
–
Formally dressed patrons at the Salon in 1890
Salon (Paris)
–
Salon of 1932, Grand Palais, Paris.
Salon (Paris)
–
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.
Salon (Paris)
–
Salon of 1753
17.
Livres
–
The livre tournois was, one of numerous currencies used in France in the Middle Ages, and a unit of account used in France in the Middle Ages and the early modern period. The denier tournois coin was minted by the abbey of Saint Martin in the Touraine region of France. The livre tournois was, in common with the original livre of Charlemagne, divided into 20 sols, between 1360 and 1641, coins worth one livre tournois were minted, known as francs. Other francs were minted under Charles V of France, Henri III of France, the use of the name franc became a synonym for livre tournois in accounting. The first French paper money, issued between 1701 and 1720, was denominated in livres tournois and this was the last time the name was used officially, as later notes and coins were denominated simply in livres, the livre parisis having finally been abolished in 1667. With many forms of domestic and international money circulating throughout Europe in the late Middle Ages and the modern period. In the world of banking of the 13th century, it was the florin. For example, the Louisiana Purchase treaty of 1803 specified the relative ratios of the franc, dollar and livre tournois. The official use of the livre tournois accounting unit in all contracts in France was legislated in 1549, since coins in Europe in the Middle Ages and the Early modern period did not have any indication of their value, their official value was determined by royal edicts. In cases of financial need, French kings could use the value for currency devaluation. By reversing these techniques, currencies could be reinforced, royal finance officers faced many difficulties. For more on issues, see Monetary policy and Greshams Law. French livre Livre parisis French franc Louis Luxembourgish livre Écu Roman currency
Livres
–
John II of France
Livres
–
Charles V of France
Livres
–
La Banque Royale-100 livres Tournois (1720)
18.
Denis Diderot
–
Denis Diderot was a French philosopher, art critic, and writer. He was a prominent figure during the Enlightenment and is best known for serving as co-founder, chief editor, Denis Diderot was born in Langres, Champagne, and began his formal education at a Jesuit collège in Langres. His parents were Didier Diderot a cutler, maître coutelier, three of five siblings survived to adulthood, Denise Diderot and their youngest brother Pierre-Didier Diderot, and finally their sister Angélique Diderot. According to Arthur McCandless Wilson, Denis Diderot greatly admired his sister Denise, in 1732 Denis Diderot earned the Master of Arts degree in philosophy. Then he entered the Collège dHarcourt of the University of Paris and he abandoned the idea of entering the clergy and decided instead to study at the Paris Law Faculty. His study of law was short-lived however and in 1734 Diderot decided to become a writer, because of his refusal to enter one of the learned professions, he was disowned by his father, and for the next ten years he lived a bohemian existence. In 1742 he befriended Jean-Jacques Rousseau, in 1743 he further alienated his father by marrying Antoinette Champion, a devout Roman Catholic. The match was considered due to Champions low social standing, poor education, fatherless status. She was about three years older than Diderot, the marriage in October 1743 produced one surviving child, a girl. Her name was Angélique, after both Diderots dead mother and sister, the death of his sister, a nun, from overwork in the convent may have affected Diderots opinion of religion. Babuti, Madeleine de Puisieux, Sophie Volland and Mme de Maux and his letters to Sophie Volland are known for their candor and are regarded to be among the literary treasures of the eighteenth century. Though his work was broad as well as rigorous, it did not bring Diderot riches, when the time came for him to provide a dowry for his daughter, he saw no alternative than to sell his library. When Empress Catherine II of Russia heard of his financial troubles she commissioned an agent in Paris to buy the library and she then requested that the philosopher retain the books in Paris until she required them, and act as her librarian with a yearly salary. Between October 1773 and March 1774, the sick Diderot spent a few months at the court in Saint Petersburg. Diderot died of thrombosis in Paris on 31 July 1784. His heirs sent his vast library to Catherine II, who had it deposited at the National Library of Russia and this idea seems to have been shelved. In 1745, he published a translation of Shaftesburys Inquiry Concerning Virtue and Merit, in 1746, Diderot wrote his first original work, the Philosophical Thoughts. In this book, Diderot argued for a reconciliation of reason with feeling so as to establish harmony, according to Diderot, without feeling there would be a detrimental effect on virtue and no possibility of creating sublime work
Denis Diderot
–
n° 9 de la place dans le centre ville de Langres in the background on the right side the birthplace of Denis Diderot
Denis Diderot
–
Diderot, by
Louis-Michel van Loo, 1767.
Denis Diderot
–
Title page of the
Encyclopédie
Denis Diderot
–
Statue of Denis Diderot in the city of
Langres, his birthplace
19.
Venice
–
Venice is a city in northeastern Italy and the capital of the Veneto region. It is situated across a group of 118 small islands that are separated by canals and these are located in the shallow Venetian Lagoon, an enclosed bay that lies between the mouths of the Po and the Piave Rivers. Parts of Venice are renowned for the beauty of their settings, their architecture, the lagoon and a part of the city are listed as a World Heritage Site. In 2014,264,579 people resided in Comune di Venezia, together with Padua and Treviso, the city is included in the Padua-Treviso-Venice Metropolitan Area, with a total population of 2.6 million. PATREVE is a metropolitan area without any degree of autonomy. The name is derived from the ancient Veneti people who inhabited the region by the 10th century BC, the city was historically the capital of the Republic of Venice. Venice has been known as the La Dominante, Serenissima, Queen of the Adriatic, City of Water, City of Masks, City of Bridges, The Floating City, and City of Canals. The City State of Venice is considered to have been the first real international financial center which gradually emerged from the 9th century to its peak in the 14th century and this made Venice a wealthy city throughout most of its history. It is also known for its several important artistic movements, especially the Renaissance period, Venice has played an important role in the history of symphonic and operatic music, and it is the birthplace of Antonio Vivaldi. Venice has been ranked the most beautiful city in the world as of 2016, the name Venetia, however, derives from the Roman name for the people known as the Veneti, and called by the Greeks Eneti. The meaning of the word is uncertain, although there are other Indo-European tribes with similar-sounding names, such as the Celtic Veneti, Baltic Veneti, and the Slavic Wends. Linguists suggest that the name is based on an Indo-European root *wen, so that *wenetoi would mean beloved, lovable, a connection with the Latin word venetus, meaning the color sea-blue, is also possible. The alternative obsolete form is Vinegia, some late Roman sources reveal the existence of fishermen on the islands in the original marshy lagoons. They were referred to as incolae lacunae, the traditional founding is identified with the dedication of the first church, that of San Giacomo on the islet of Rialto — said to have taken place at the stroke of noon on 25 March 421. Beginning as early as AD166 to 168, the Quadi and Marcomanni destroyed the center in the area. The Roman defences were again overthrown in the early 5th century by the Visigoths and, some 50 years later, New ports were built, including those at Malamocco and Torcello in the Venetian lagoon. The tribuni maiores, the earliest central standing governing committee of the islands in the Lagoon, the traditional first doge of Venice, Paolo Lucio Anafesto, was actually Exarch Paul, and his successor, Marcello Tegalliano, was Pauls magister militum. In 726 the soldiers and citizens of the Exarchate rose in a rebellion over the controversy at the urging of Pope Gregory II
Venice
–
A collage of Venice: at the top left is the
Piazza San Marco, followed by a view of the city, then the
Grand Canal, and (smaller) the interior of
La Fenice and, finally, the Island of San Giorgio Maggiore
Venice
–
UNESCO World Heritage Site
Venice
–
Photography of Venice at dusk
Venice
–
The Grand Canal seen from the bridge at
Ponte di Rialto
20.
Alte Pinakothek
–
The Alte Pinakothek is an art museum located in the Kunstareal area in Munich, Germany. It is one of the oldest galleries in the world and houses one of the most famous collections of Old Master paintings, the name Alte Pinakothek refers to the time period covered by the collection—from the fourteenth to the eighteenth century. The Neue Pinakothek covers nineteenth-century art, and the recently opened Pinakothek der Moderne exhibits modern art, all three galleries are part of the Bavarian State Picture Collection, an organization of the Free state of Bavaria. King Ludwig I of Bavaria ordered Leo von Klenze to erect a new building for the gallery for the Wittelsbach collection in 1826, even the neo-renaissance exterior of the Pinakothek clearly stands out from the castle-like museum type usual in the early 19th Century. It is closely associated with the function and structure of the building as a museum, the museum galleries were designed to display Rubenss Last Judgment, one of the largest canvasses ever painted. The museum building was damaged by bombing in World War II but was reconstructed and reopened to the public in the late 1950s. The ornate, pre-war interior including the large loggia facing the south façade in the floor were not restored. A new wall covering was created in 2008 for the rooms on the floor of the Alte Pinakothek with a woven. The new color scheme of green and red draws on the design of the rooms, Elector Maximilian I commissioned in 1616 four hunt paintings from Peter Paul Rubens and acquired many other paintings, especially the work of Albrecht Dürer. He even obtained The Four Apostles in the year 1627 due to pressure on the Nuremberg city fathers, a few years later however 21 paintings were confiscated and moved to Sweden during the occupation of Munich in the Thirty Years war. Maximilians grandson Maximilian II Emanuel purchased a number of Dutch. Under Max Emanuels successors, the purchases were discontinued due to the tight budget. Also Max Emanuels cousin Johann Wilhelm, Elector Palatine collected Netherlandish paintings and he ordered from Peter Paul Rubens the The Big Last Judgment and received Raphaels Canigiani Holy Family as a dowry of his wife. Charles Theodore, Elector of Bavaria had a preference for Netherlandish paintings as well. By the late 18th century a number of the paintings were already displayed in Schleissheim Palace. Even though 72 paintings including The Battle of Alexander at Issus were taken to Paris in 1800 by the armies of Napoleon I. The Louvre held it until 1804, when Napoleon declared himself Emperor of France, when the Prussians captured the Château de Saint-Cloud in 1814 as part of the War of the Sixth Coalition, they supposedly found the painting hanging in Napoleons bathroom. Most of the paintings have not been returned, with the secularisation many paintings from churches and former monasteries entered into state hands
Alte Pinakothek
–
Alte Pinakothek, eastern façade
Alte Pinakothek
–
Alte Pinakothek façade
Alte Pinakothek
–
Alte Pinakothek, hand-painted photograph, c. 1890
Alte Pinakothek
–
Room IX
21.
Rococo
–
Rococo artists and architects used a more jocular, florid, and graceful approach to the Baroque. Their style was ornate and used light colours, asymmetrical designs, curves, unlike the political Baroque, the Rococo had playful and witty themes. By the end of the 18th century, Rococo was largely replaced by the Neoclassic style. In 1835 the Dictionary of the French Academy stated that the word Rococo usually covers the kind of ornament, style and design associated with Louis XVs reign and it includes therefore, all types of art from around the middle of the 18th century in France. The word is seen as a combination of the French rocaille and coquilles, the term may also be a combination of the Italian word barocco and the French rocaille and may describe the refined and fanciful style that became fashionable in parts of Europe in the 18th century. The Rococo love of shell-like curves and focus on decorative arts led some critics to say that the style was frivolous or merely modish, when the term was first used in English in about 1836, it was a colloquialism meaning old-fashioned. While there is some debate about the historical significance of the style to art in general. Italian architects of the late Baroque/early Rococo were wooed to Catholic Germany, Bohemia and Austria by local princes, an exotic but in some ways more formal type of Rococo appeared in France where Louis XIVs succession brought a change in the court artists and general artistic fashion. By the end of the long reign, rich Baroque designs were giving way to lighter elements with more curves. These elements are obvious in the designs of Nicolas Pineau. During the Régence, court life moved away from Versailles and this change became well established, first in the royal palace. The delicacy and playfulness of Rococo designs is seen as perfectly in tune with the excesses of Louis XVs reign. The 1730s represented the height of Rococo development in France, the style had spread beyond architecture and furniture to painting and sculpture, exemplified by the works of Antoine Watteau and François Boucher. The Rococo style was spread by French artists and engraved publications, william Hogarth helped develop a theoretical foundation for Rococo beauty. Though not intentionally referencing the movement, he argued in his Analysis of Beauty that the lines and S-curves prominent in Rococo were the basis for grace. The development of Rococo in Great Britain is considered to have connected with the revival of interest in Gothic architecture early in the 18th century. The beginning of the end for Rococo came in the early 1760s as figures like Voltaire and Jacques-François Blondel began to voice their criticism of the superficiality, Blondel decried the ridiculous jumble of shells, dragons, reeds, palm-trees and plants in contemporary interiors. By 1785, Rococo had passed out of fashion in France, replaced by the order, in Germany, late 18th century Rococo was ridiculed as Zopf und Perücke, and this phase is sometimes referred to as Zopfstil
Rococo
–
Pair of lovers group of
Nymphenburg porcelain, c. 1760, modelled by
Franz Anton Bustelli
Rococo
–
The Rococo
Basilica at Ottobeuren (Bavaria): architectural spaces flow together and swarm with life.
Rococo
–
Rococo-style
House of the Good Shepherd in
Bratislava (
Slovakia) - an example of the 18th century
bourgeoisie house.
Rococo
–
François Boucher, Le Déjeuner, (1739,
Louvre), shows a rocaille interior of a French bourgeois family in the 18th century. The porcelain statuette and vase add a touch of
chinoiserie.
22.
Waddesdon Manor
–
Waddesdon Manor is a country house in the village of Waddesdon, in Buckinghamshire, England. It is located in the Aylesbury Vale,6.6 miles west of Aylesbury, the house was built in the Neo-Renaissance style of a French château between 1874 and 1889 for Baron Ferdinand de Rothschild as a weekend residence for grand entertaining. The last member of the Rothschild family to own Waddesdon was James de Rothschild and he bequeathed the house and its contents to the National Trust. It is now administered by a Rothschild charitable trust that is overseen by Jacob Rothschild and it is one of the National Trusts most visited properties, with around 335,000 visitors annually. Prior to the construction of Waddesdon Manor, no house existed on the site, Ferdinand de Rothschild wanted a house in the style of the great Renaissance châteaux of the Loire Valley. The Baron, a member of the Viennese branch of the Rothschild banking dynasty, Destailleur was already experienced in working in this style, having overseen the restoration of many châteaux in that region, in particular that of the Château de Mouchy. Through Destailleurs vision, Waddesdon embodied an eclectic style based on the châteaux so admired by his patron, Baron Ferdinand. The towers at Waddesdon were based on those of the Château de Maintenon, however, following the theme of unparalleled luxury at Waddesdon, the windows of the towers at Waddesdon were glazed, unlike those of the staircase at Chambord. They are also far more ornate, the structural design of Waddesdon, however, was not all retrospective. The house also had hot and cold running water in its bathrooms, central heating, the building contractor was Edward Conder & Son. Works were acquired for their quality and fine provenance. One of the highlights of the collection is the extraordinary musical automaton elephant, dating from 1774, in the 1890s, Baron Ferdinand focused on the Renaissance collection for his small museum in the New Smoking Room. This collection was bequeathed to the British Museum and is now known as the Waddesdon Bequest, the interior of Waddesdon Manor was photographed in 1897 for Baron Ferdinands privately published The Red Book. Subsequent owners added noted collections of Limoges enamel, arms and armour, maiolica, medieval manuscripts, prints, extensive landscaping of the hill was carried out, including leveling the top. The gardens and landscape park were laid out by the French landscape architect Elie Lainé, an attempt was made to transplant full-grown trees by chloroforming their roots, to limit the shock. While this novel idea was unsuccessful, many large trees were successfully transplanted. The gardens were enhanced with statuary, pavilions and an aviary that is still in use, the Proserpina fountain was brought to the Manor at the end of the 19th century from the Palace of the Dukes of Parma in northern Italy, the Ducal Palace of Colorno. The gardens are listed Grade I on the Register of Historic Parks, Baron Ferdinand played host to many important guests including the future Edward VII
Waddesdon Manor
–
Waddesdon Manor. The north entrance
facade.
Waddesdon Manor
–
The towers were modelled on the towers of
Château de Maintenon.
Waddesdon Manor
–
One of the twin staircase-towers inspired by those at the Château de Chambord.
Waddesdon Manor
–
Plan of Waddesdon's ground floor. 1:Vestibule; 2:Entrance Hall, 3 Red Drawing room; 4:Grey Drawing Room; 5:Library; 6:Baron's Sitting room; 7:Morning Room; 8:West Hall; 9:West Gallery; 10:East Gallery; 11:Dining Room; 12:Conservatory; 13:Breakfast Room; 14:Kitchen; 15:Servant's Hall; 16:Housekeeper's Rooms; 17:Site of further servants quarters (not illustrated); 18:Terrace and parterre; 19 North Drive; St:staircases.
23.
Low Countries
–
Most of the Low Countries are coastal regions bounded by the North Sea or the English Channel. The countries without access to the sea have linked themselves politically and economically to those with access to one union of port. The Low Countries were the scene of the northern towns, newly built rather than developed from ancient centres. In that period, they rivaled northern Italy for the most densely populated region of Europe, all of the regions mainly depended on trade, manufacturing and the encouragement of the free flow of goods and craftsmen. Germanic languages such as Dutch and Luxembourgish were the predominant languages, secondary languages included French, Romance-speaking Belgium, the Romance Flanders, and Namur. Governor Mary of Hungary used both the expressions les pays de par deça and Pays dEmbas, which evolved to Pays-Bas or Low Countries, today the term is typically fitted to modern political boundaries and used in the same way as the term Benelux, which also includes Luxembourg. The name of the country the Netherlands has the same meaning. The same name of countries can be found in other European languages, for example German Niederlande, French, les Pays-Bas, and so on. In the Dutch language itself no plural is used for the name of the modern country, so Nederland is used for the modern nation and de Nederlanden for the 16th century domains of Charles V. In Dutch, and to an extent in English, the Low Countries colloquially means the Netherlands and Belgium, sometimes the Netherlands. For example, a Derby der Lage Landen, is an event between Belgium and the Netherlands. Belgium was renamed only in 1830, after splitting from the Kingdom of the Netherlands, politically, before the Napoleonic wars, it was referred to as the Southern, Spanish or later Austrian Netherlands. It is still referred to as part of the low countries, the region politically had its origins in Carolingian empire, more precisely, most of it was within the Duchy of Lower Lotharingia. After the disintegration of Lower Lotharingia, the Low Countries were brought under the rule of various lordships until they came to be in the hands of the Valois Dukes of Burgundy. Hence, a part of the low countries came to be referred to as the Burgundian Netherlands also called the Seventeen Provinces up to 1581. Even after the secession of the autonomous Dutch Republic in the north. The Low Countries were part of the Roman provinces of Gallia Belgica, Germania Inferior and they were inhabited by Belgic and Germanic tribes. In the 4th and 5th century, Frankish tribes had entered this Roman region and they came to be ruled by the Merovingian dynasty, under which dynasty the southern part was re-Christianised
Low Countries
–
The Low Countries as seen from space with modern day boundaries drawn in thin blue.
24.
Bourgeoisie
–
A legally defined class of the Middle Ages to the end of the Ancien Régime in France, that of inhabitants having the rights of citizenship and political rights in a city. This bourgeoisie destroyed aristocratic privilege and established civic equality after the French monarchy collapsed, the aristocracy crumbled because it refused to reform institutions and financial systems. An affluent and often opulent stratum of the class who stand opposite the proletariat class. In English, bourgeoisie identified a social class oriented to economic materialism and hedonism, hence, since the 19th century, the term bourgeoisie usually is politically and sociologically synonymous with the ruling upper class of a capitalist society. The 18th century saw a partial rehabilitation of bourgeois values in such as the drame bourgeois and bourgeois tragedy. The bourgeoisie emerged as a historical and political phenomenon in the 11th century when the bourgs of Central and this urban expansion was possible thanks to economic concentration due to the appearance of protective self-organisation into guilds. Guilds arose when individual businessmen conflicted with their feudal landlords who demanded greater rents than previously agreed. In English, the bourgeoisie is often used to denote the middle classes. In fact, the French term encompasses both the upper and middle classes, a misunderstanding which has occurred in other languages as well. The bourgeoisie in France and many French-speaking countries consists of four evolving social layers, petite bourgeoisie, moyenne bourgeoisie, grande bourgeoisie, the petite bourgeoisie consists of people who have experienced a brief ascension in social mobility for one or two generations. It usually starts with a trade or craft, and by the second and third generation, the petite bourgeois would belong to the British lower middle class and would be American middle income. They are distinguished mainly by their mentality, and would differentiate themselves from the proletariat or working class and this class would include artisans, small traders, shopkeepers, and small farm owners. They are not employed, but may not be able to afford employees themselves, the moyenne bourgeoisie or middle bourgeoisie contains people who have solid incomes and assets, but not the aura of those who have become established at a higher level. They tend to belong to a family that has been bourgeois for three or more generations, some members of this class may have relatives from similar backgrounds, or may even have aristocratic connections. The moyenne bourgeoisie is the equivalent of the British and American upper-middle classes, the grande bourgeoisie are families that have been bourgeois since the 19th century, or for at least four or five generations. Members of these tend to marry with the aristocracy or make other advantageous marriages. This bourgeoisie family has acquired an established historical and cultural heritage over the decades, the names of these families are generally known in the city where they reside, and their ancestors have often contributed to the regions history. These families are respected and revered and they belong to the upper class, and in the British class system are considered part of the gentry
Bourgeoisie
–
The prototypical bourgeois: Monsieur Jourdain, the protagonist in
Molière 's play
Le Bourgeois gentilhomme (1670).
Bourgeoisie
–
The 16th-century German banker
Jakob Fugger and his principal accountant, M. Schwarz, registering an entry to a ledger. The background shows a file cabinet indicating the European cities where the Fugger Banker conducts business. (1517)
Bourgeoisie
–
Thomas Mann (1875–1955) portrayed the moral, intellectual, and physical decadence of the German upper bourgeoisie in the novel
Buddenbrooks (1926)
25.
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
26.
National Gallery of Canada
–
The National Gallery of Canada, located in the capital city of Ottawa, Ontario, is one of Canadas premier art galleries. The Gallery is now housed in a glass and granite building on Sussex Drive with a view of the Canadian Parliament buildings on Parliament Hill. The building was designed by Moshe Safdie and opened in 1988, the Gallerys former director Jean Sutherland Boggs was chosen especially by Prime Minister Pierre Trudeau to oversee construction of the national gallery and museums. Marc Mayer was named the director, succeeding Pierre Théberge. In 1911, the Gallery moved to the Victoria Memorial Museum, in 1913, the first National Gallery Act was passed outlining the Gallerys mandate and resources. In 1962, the Gallery moved to the Lorne Building site, adjacent to the British High Commission, the building has since been demolished for a 17 storey office building that is to house the Federal Finance Department. The museum moved into its current building on Sussex Drive in 1988, in 1985, the newly created Canadian Museum of Contemporary Photography, formerly the Stills Photography Division of the National Film Board of Canada, was affiliated to the National Gallery. The CMCPs mandate, collection and staff moved to its new location in 1992, at 1 Rideau Canal, in 1998, the CMCPs administration was amalgamated to that of the National Gallerys. In 2000, the Royal Architectural Institute of Canada chose the National Gallery as one of the top 500 buildings produced in Canada during the last millennium, although its focus is on Canadian art, it holds works by many noted American and European artists. It has a contemporary art collection with some of Andy Warhols most famous works. In 1990 the Gallery bought Barnett Newmans Voice of Fire for $1.8 million, since that time its value has appreciated sharply. In 2005, the Gallery acquired a painting by Italian Renaissance painter Francesco Salviati for $4.5 million and its most famous painting is likely The Death of General Wolfe by Anglo-American artist Benjamin West. In 2005, a sculpture of a giant spider, Louise Bourgeoiss Maman, was installed in the plaza in front of the Gallery. The Canadian collection, the most comprehensive in Canada, holds works by Louis-Philippe Hébert, Tom Thomson, the Gallery organizes its own exhibits which travel across Canada and beyond, and hosts shows from around the world, often co-sponsored with other national art galleries and museums. The Gallerys collection has been built up through purchase and donations, much of the collection was donated, notably the British paintings donated by former Governor General Vincent Massey and that of the Southam family. The museum features Canadian, Native and Inuit art, American and European painting, sculpture, prints and drawings, modern and contemporary art and photographs. After the convent was demolished in 1972, the chapel was dismantled, stored and reconstructed within the gallery as a work of art in 1988. Francis Bacon, Study for Portrait No.1 Hans Baldung, Eve, the Serpent and Death Pompeo Batoni, Vulcan at his forge
National Gallery of Canada
–
National Gallery of Canada
National Gallery of Canada
–
View of the National Gallery of Canada from Parliament Hill
National Gallery of Canada
–
The interior of National Gallery of Canada
National Gallery of Canada
–
Louise Bourgeois '
Maman (1999) stands outside the National Gallery of Canada's main entrance
27.
Ottawa
–
Ottawa is the capital city of Canada. It stands on the bank of the Ottawa River in the eastern portion of southern Ontario. Ottawa borders Gatineau, Quebec, the two form the core of the Ottawa–Gatineau census metropolitan area and the National Capital Region. The 2016 census reported a population of 934,243, making it the fourth-largest city in Canada, the City of Ottawa reported that the city had an estimated population of 960,754 as of December 2015. Founded in 1826 as Bytown, and incorporated as Ottawa in 1855, the city name Ottawa was chosen in reference to the Ottawa River nearby, the name of which is derived from the Algonquin Odawa, meaning to trade. The city is the most educated in Canada, and is home to a number of post-secondary, research, and cultural institutions, including the National Arts Centre, Ottawa also has the highest standard of living in the nation and low unemployment. It ranked second out of 150 worldwide in the Numbeo quality of life index 2014–2015, with the draining of the Champlain Sea around ten thousand years ago the Ottawa Valley became habitable. The area was used for wild harvesting, hunting, fishing, trade, travel. The Ottawa river valley has archaeological sites with arrow heads, pottery, the area has three major rivers that meet, making it an important trade and travel area for thousands of years. The Algonquins called the Ottawa River Kichi Sibi or Kichissippi meaning Great River or Grand River, Étienne Brûlé, the first European to travel up the Ottawa River, passed by Ottawa in 1610 on his way to the Great Lakes. Three years later, Samuel de Champlain wrote about the waterfalls of the area and about his encounters with the Algonquins, the early explorers and traders were later followed by many missionaries. The first maps of the area used the word Ottawa to name the river, philemon Wright, a New Englander, created the first settlement in the area on 7 March 1800 on the north side of the river, across from Ottawa in Hull. He, with five other families and twenty-five labourers, set about to create a community called Wrightsville. Wright pioneered the Ottawa Valley timber trade by transporting timber by river from the Ottawa Valley to Quebec City, the following year, the town would soon be named after British military engineer Colonel John By who was responsible for the entire Rideau Waterway construction project. Colonel By set up military barracks on the site of todays Parliament Hill and he also laid out the streets of the town and created two distinct neighbourhoods named Upper Town west of the canal and Lower Town east of the canal. Similar to its Upper Canada and Lower Canada namesakes, historically Upper Town was predominantly English speaking and Protestant whereas Lower Town was predominantly French, Irish, bytowns population grew to 1,000 as the Rideau Canal was being completed in 1832. In 1855 Bytown was renamed Ottawa and incorporated as a city, William Pittman Lett was installed as the first city clerk guiding it through 36 years of development. On New Years Eve 1857, Queen Victoria, as a symbolic, in reality, Prime Minister John A. Macdonald had assigned this selection process to the Executive Branch of the Government, as previous attempts to arrive at a consensus had ended in deadlock
Ottawa
–
Centre Block on Parliament Hill, the
National War Memorial in
downtown Ottawa, the
National Gallery of Canada, and the
Rideau Canal and
Château Laurier.
Ottawa
–
Bytown in 1853. Military Barracks on hill top was occupied by "A" Company of the
Royal Canadian Rifle Regiment, presently home to
Parliament Hill.
Ottawa
–
Centre Block on
Parliament Hill under construction in 1863
Ottawa
–
Looking east down
Rideau Street. In view: the
Union Station on the right, and the (now demolished)
Daly Building on the left. 1922
28.
Pastels
–
A pastel is an art medium in the form of a stick, consisting of pure powdered pigment and a binder. The pigments used in pastels are the same as used to produce all colored art media, including oil paints. The color effect of pastels is closer to the natural dry pigments than that of any other process, Pastels have been used by artists since the Renaissance, and gained considerable popularity in the 18th century, when a number of notable artists made pastel their primary medium. An artwork made using pastels is called a pastel, Pastel used as a verb means to produce an artwork with pastels, as an adjective it means pale in color. Pastel sticks or crayons consist of powdered pigment combined with a binder. The exact composition and characteristics of an individual pastel stick depends on the type of pastel and it also varies by individual manufacturer. Dry pastels have historically used binders such as gum arabic and gum tragacanth, methyl cellulose was introduced as a binder in the twentieth century. Often a chalk or gypsum component is present and they are available in varying degrees of hardness, the softer varieties being wrapped in paper. Some pastel brands use pumice in the binder to abrade the paper, dry pastel media can be subdivided as follows, Soft pastels, This is the most widely used form of pastel. The sticks have a portion of pigment and less binder. The drawing can be readily smudged and blended, but it results in a proportion of dust. White chalk may be used as a filler in producing pale, Pan Pastels, These are formulated with a minimum of binder in flat compacts and applied with special Soft micropore sponge tools. A 21st-century invention, Pan Pastels can be used for the painting or in combination with soft. Hard pastels, These have a portion of binder and less pigment. These can be used with other pastels for drawing outlines and adding accents, hard pastels are traditionally used to create the preliminary sketching out of a composition. However, the colors are brilliant and are available in a restricted range in contrast to soft pastels. Pastel pencils, These are pencils with a pastel lead and they are useful for adding fine details. In addition, pastels using a different approach to manufacture have been developed, Oil pastels, These have a soft, buttery consistency and they are dense and fill the grain of paper and are slightly more difficult to blend than soft pastels, but do not require a fixative
Pastels
–
Commercial pastels
Pastels
–
A young woman with pastel box and painting
Pastels
–
Georg Anton Urlaub (1713–1759) holding a box of pastels in his hands. Selfportrait, 1735
Pastels
–
Ants Laikmaa Taebla landscape from 1936.
29.
Henri Matisse
–
Henri-Émile-Benoît Matisse was a French artist, known for both his use of colour and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is primarily as a painter. Although he was labelled a Fauve, by the 1920s he was increasingly hailed as an upholder of the classical tradition in French painting. His mastery of the language of colour and drawing, displayed in a body of work spanning over a half-century. Matisse was born in Le Cateau-Cambrésis, in the Nord department in northern France and he grew up in Bohain-en-Vermandois, Picardie, France. In 1887 he went to Paris to study law, working as an administrator in Le Cateau-Cambrésis after gaining his qualification. He first started to paint in 1889, after his mother brought him art supplies during a period of following an attack of appendicitis. He discovered a kind of paradise as he described it. In 1891 he returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau, initially he painted still lifes and landscapes in a traditional style, at which he achieved reasonable proficiency. Chardin was one of the painters Matisse most admired, as an art student he made copies of four of Chardins paintings in the Louvre, in 1896 and 1897, Matisse visited the Australian painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of van Gogh and he later said Russell was my teacher, and Russell explained colour theory to me. In 1896 Matisse exhibited five paintings in the salon of the Société Nationale des Beaux-Arts, with the model Caroline Joblau, he had a daughter, Marguerite, born in 1894. In 1898 he married Amélie Noellie Parayre, the two raised Marguerite together and had two sons, Jean and Pierre, Marguerite and Amélie often served as models for Matisse. In 1898, on the advice of Camille Pissarro, he went to London to study the paintings of J. M. W. Turner and then went on a trip to Corsica. Upon his return to Paris in February 1899, he worked beside Albert Marquet and met André Derain, Jean Puy, Matisse immersed himself in the work of others and went into debt from buying work from painters he admired. The work he hung and displayed in his home included a plaster bust by Rodin, a painting by Gauguin, a drawing by van Gogh, in Cézannes sense of pictorial structure and colour, Matisse found his main inspiration. Many of Matisses paintings from 1898 to 1901 make use of a Divisionist technique he adopted after reading Paul Signacs essay and his paintings of 1902–03, a period of material hardship for the artist, are comparatively somber and reveal a preoccupation with form. Having made his first attempt at sculpture, a copy after Antoine-Louis Barye, in 1899, he devoted much of his energy to working in clay, fauvism as a style began around 1900 and continued beyond 1910
Henri Matisse
–
Henri Matisse, 1913, by
Alvin Langdon Coburn
Henri Matisse
–
Henri and Amélie Matisse, 1898
Henri Matisse
–
Woman Reading, 1894, Museum of Modern Art, Paris
Henri Matisse
–
Blue Pot and Lemon (1897),
Hermitage Museum,
St. Petersburg, Russia
30.
Chaim Soutine
–
Chaïm Soutine was a Russian painter of Belarusian Jewish origin. Soutine made a contribution to the expressionist movement while living in Paris. Soutine was born Chaim Sutin, in Smilavichy near Minsk, Belarus and he was the tenth of eleven children. From 1910 to 1913 he studied in Vilnius at the Vilna Academy of Fine Arts, in 1913, with his friends Pinchus Kremegne and Michel Kikoine, he emigrated to Paris, where he studied at the École des Beaux-Arts under Fernand Cormon. He soon developed a personal vision and painting technique. For a time, he and his friends lived at La Ruche, Modigliani painted Soutines portrait several times, most famously in 1917, on a door of an apartment belonging to Léopold Zborowski, who was their art dealer. Zborowski supported Soutine through World War I, taking the struggling artist with him to Nice to escape the possible German invasion of Paris, after the war Paul Guillaume, a highly influential art dealer, began to champion Soutines work. In 1923, in a showing arranged by Guillaume, the prominent American collector Albert C, barnes, bought 60 of Soutines paintings on the spot. Soutine once horrified his neighbours by keeping an animal carcass in his studio so that he could paint it, the stench drove them to send for the police, whom Soutine promptly lectured on the relative importance of art over hygiene. Theres a story that Marc Chagall saw the blood from the leak out onto the corridor outside Soutines room. Soutine painted 10 works in series, which have since become his most well-known. His carcass paintings were inspired by Rembrandts still life of the subject, Slaughtered Ox. Soutine produced the majority of his works from 1920 to 1929, soon afterwards France was invaded by German troops. As a Jew, Soutine had to escape from the French capital and he moved from one place to another and was sometimes forced to seek shelter in forests, sleeping outdoors. Suffering from an ulcer and bleeding badly, he left a safe hiding place for Paris in order to undergo emergency surgery. On August 9,1943, Chaim Soutine died of a perforated ulcer and he was interred in Cimetière du Montparnasse, Paris. In February 2007, a 1921 portrait of a man with a red scarf by Chaim Soutine sold for $17.2 million—a new record—at Sothebys London auction house. In May 2015, Le Bœuf, circa 1923, oil on canvas, some years after Soutines death, Roald Dahl placed him as a character in his short story Skin
Chaim Soutine
–
Chaim Soutine (with signature)
Chaim Soutine
–
Self Portrait, 1918,
Henry and Rose Pearlman Collection, on long-term loan to the
Princeton University Art Museum
Chaim Soutine
–
Amedeo Modigliani, Portrait of Soutine, 1916
Chaim Soutine
–
Chemin de la Fontaine des Tins at
Céret, ca. 1920,
Henry and Rose Pearlman Collection on long-term loan to the
Princeton University Art Museum
31.
Georges Braque
–
Georges Braque was a major 20th-century French painter, collagist, draughtsman, printmaker and sculptor. His most important contributions to the history of art were in his alliance with Fauvism from 1906, braque’s work between 1908 and 1912 is closely associated with that of his colleague Pablo Picasso. Their respective Cubist works were indistinguishable for many years, yet the quiet nature of Braque was partially eclipsed by the fame, georges Braque was born on 13 May 1882 in Argenteuil, Val-dOise. He grew up in Le Havre and trained to be a house painter, however, he also studied artistic painting during evenings at the École des Beaux-Arts, in Le Havre, from about 1897 to 1899. In Paris, he apprenticed with a decorator and was awarded his certificate in 1902, the next year, he attended the Académie Humbert, also in Paris, and painted there until 1904. It was here that he met Marie Laurencin and Francis Picabia, Braques earliest works were impressionistic, but after seeing the work exhibited by the artistic group known as the Fauves in 1905, he adopted a Fauvist style. The Fauves, a group that included Henri Matisse and André Derain among others, Braque worked most closely with the artists Raoul Dufy and Othon Friesz, who shared Braques hometown of Le Havre, to develop a somewhat more subdued Fauvist style. In 1906, Braque traveled with Friesz to LEstaque, to Antwerp, in May 1907, he successfully exhibited works of the Fauve style in the Salon des Indépendants. The 1907 Cézanne retrospective at the Salon dAutomne greatly affected the artists of Paris. Braques paintings of 1908–1912 reflected his new interest in geometry and simultaneous perspective and he showed this in the painting Houses at lEstaque. Beginning in 1909, Braque began to work closely with Pablo Picasso who had been developing a similar proto-Cubist style of painting. At the time, Pablo Picasso was influenced by Gauguin, Cézanne, African masks, Picasso celebrates animation, while Braque celebrates contemplation. Thus, the invention of Cubism was a joint effort between Picasso and Braque, then residents of Montmartre, Paris and these artists were the styles main innovators. After meeting in October or November 1907, Braque and Picasso, in particular, both artists produced paintings of monochromatic color and complex patterns of faceted form, now termed Analytic Cubism. In 1912, they began to experiment with collage and Braque invented the papier collé technique, French art critic Louis Vauxcelles used the terms bizarre cubiques in 1908 after seeing a picture by Braque. He described it as full of little cubes, the term Cubism, first pronounced in 1911 with reference to artists exhibiting at the Salon des Indépendants, quickly gained wide use but Picasso and Braque did not adopt it initially. Art historian Ernst Gombrich described Cubism as the most radical attempt to stamp out ambiguity and to one reading of the picture—that of a man-made construction. The Cubist style spread quickly throughout Paris and then Europe, the two artists productive collaboration continued and they worked closely together until the beginning of World War I in 1914, when Braque enlisted with the French Army
Georges Braque
–
Georges Braque, 1908, photograph published in
Gelett Burgess, The Wild Men of Paris, Architectural Record, May 1910
Georges Braque
–
Georges Braque, 1906, L'Olivier près de l'Estaque (The Olive tree near l'Estaque). At least four versions of this scene were painted by Braque, one of which was stolen from the
Musée d'Art Moderne de la Ville de Paris during the month of May, 2010.
Georges Braque
–
Georges Braque, 1907-08, The Viaduct at L'Estaque (Le Viaduc de l'Estaque), oil on canvas, 65.1 x 80.6 cm,
Minneapolis Institute of Arts
Georges Braque
–
Georges Braque, 1908, Maisons et arbre (
Houses at l'Estaque), oil on canvas, 40.5 x 32.5 cm,
Lille Métropole Museum of Modern, Contemporary and Outsider Art
32.
Giorgio Morandi
–
Giorgio Morandi was an Italian painter and printmaker who specialized in still life. His paintings are noted for their subtlety in depicting apparently simple subjects. Giorgio Morandi was born in Bologna to Andrea Morandi and Maria Maccaferri and he lived first on Via Lame where his brother Giuseppe and his sister Anna were born. The family then moved to via Avesella where his two sisters were born, Dina in 1900 and Maria Teresa in 1906. From 1907 to 1913 he studied at the Accademia di Belle Arti di Bologna, after the death of his father in 1909, the family moved to via Fondazza and Morandi became the head of the family. At the Accademia, which based its traditions on 14th-century painting and he was excellent at his studies, although his professors disapproved of the changes in his style during his final two years at the Accademia. Morandi, even though he lived his life in Bologna, was influenced by the works of Cézanne, Derain. In 1910 he visited Florence, where the works of such as Giotto, Masaccio, Piero Della Francesca. He had a brief digression into a Futurist style in 1914, in that same year, Morandi was appointed instructor of drawing for elementary schools in Bologna—a post he held until 1929. In 1915, he joined the army but suffered a breakdown and was indefinitely discharged, during the war, Morandis still lifes became more reduced in their compositional elements and purer in form, revealing his admiration for both Cézanne and the Douanier Rousseau. The Metaphysical painting phase in Morandis work lasted from 1918 to 1922 and he was sympathetic to the Fascist party in the 1920s, although his friendships with anti-Fascist figures led authorities to arrest him briefly in 1943. From 1928 Morandi participated in some of the Venice Biennale exhibitions, in the Quadriennale in Rome and also exhibited in different Italian, in 1929 Giorgio Morandi illustrated the work Il sole a picco by Vincenzo Cardarelli, winner of the Premio Bagutta. From 1930 to 1956, Morandi was a professor of etching at Accademia di Belle Arti, the 1948 Venice Biennale awarded him first prize for painting. He visited Paris for the first time in 1956, and in 1957 he won the prize in São Paulos Biennial. Quiet and polite, both in his private and public life, Morandi was much talked about in Bologna for his enigmatic yet very optimistic personality, Morandi lived on Via Fondazza, in Bologna, with his three sisters Anna, Dina and Maria Teresa. Morandi died of cancer on June 18,1964. Morandi is buried at Certosa cemetery in Bologna in the family together with his three sisters. On his tomb there is a portrait of him donated by his friend the sculptor Giacomo Manzù, throughout his career, Morandi concentrated almost exclusively on still lifes and landscapes, except for a few self-portraits
Giorgio Morandi
–
Natura Morta, oil on canvas, 1956, private collection
33.
Lucian Freud
–
Lucian Michael Freud was a British painter and draftsman, specialising in figurative art, and is known as one of the foremost 20th-century portraitists. He was born in Berlin, the son of a Jewish architect and his family moved to Britain in 1933 to escape the rise of Nazism. From 1942-43 he attended Goldsmiths College, London and he enlisted in the Merchant Navy during the Second World War. His early career as a painter was influenced by surrealism, but by the early 1950s his often stark, Freud was an intensely private and guarded man, and his paintings, completed over a 60-year career, are mostly of friends and family. They are generally sombre and thickly impastoed, often set in unsettling interiors, the works are noted for their psychological penetration and often discomforting examination of the relationship between artist and model. Freud worked from life studies, and was known for asking for extended, born in Berlin, Freud was the son of a German Jewish mother, Lucie, and an Austrian Jewish father, Ernst L. Freud, an architect. He was a grandson of Sigmund Freud, and elder brother of the broadcaster, writer and politician Clement Freud, the family emigrated to St Johns Wood, London, in 1933 to escape the rise of Nazism. Lucian became a British subject in 1939, having attended Dartington Hall School in Totnes, Devon and he also attended Goldsmiths College, part of the University of London, in 1942–43. He served as a merchant seaman in an Atlantic convoy in 1941 before being invalided out of service in 1942, in 1943, the poet and editor Meary James Thurairajah Tambimuttu commissioned the young artist to illustrate a book of poems by Nicholas Moore entitled The Glass Tower. It was published the year by Editions Poetry London and comprised, among other drawings, a stuffed zebra. Both subjects reappeared in The Painters Room on display at Freuds first solo exhibition in 1944 at the Lefevre Gallery, in the summer of 1946, he travelled to Paris before continuing to Greece for several months to visit John Craxton. In the early fifties he was a frequent visitor to Dublin where he would share Patrick Swifts studio, in late 1952, Freud and Lady Caroline Blackwood eloped to Paris where they married in 1953. He remained a Londoner for the rest of his life, Freud was part of a group of figurative artists later named The School of London. This was more a collection of individual artists who knew each other, some intimately. The group was led by such as Francis Bacon and Freud. He was a tutor at the Slade School of Fine Art of University College London from 1949 to 1954. Freuds early paintings, which are very small, are often associated with German Expressionism and Surrealism in depicting people, plants. These were painted with tiny sable brushes and evoke Early Netherlandish painting and he would often clean his brush after each stroke when painting flesh, so that the colour remained constantly variable
Lucian Freud
–
Lucian Freud
Lucian Freud
–
Girl with a white dog, 1951–1952,
Tate Gallery. Portrait of Freud's first wife,
Kitty Garman, the daughter of
Jacob Epstein and
Kathleen Garman
Lucian Freud
–
Benefits Supervisor Sleeping, 1995, a very large portrait of "Big Sue" Tilley (see below), showing his handling of flesh tones, and a typical high viewpoint
Lucian Freud
–
After Cézanne, 1999–2000,
National Gallery of Australia
34.
National Gallery, London
–
The National Gallery is an art museum in Trafalgar Square in the City of Westminster, in Central London. Founded in 1824, it houses a collection of over 2,300 paintings dating from the century to 1900. The Gallery is a charity, and a non-departmental public body of the Department for Culture, Media. Its collection belongs to the public of the United Kingdom and entry to the collection is free of charge. It is among the most visited art museums in the world, after the Musée du Louvre, the British Museum, unlike comparable museums in continental Europe, the National Gallery was not formed by nationalising an existing royal or princely art collection. It came into being when the British government bought 38 paintings from the heirs of John Julius Angerstein, after that initial purchase the Gallery was shaped mainly by its early directors, notably Sir Charles Lock Eastlake, and by private donations, which comprise two-thirds of the collection. It used to be claimed that this was one of the few national galleries that had all its works on permanent exhibition, the present building, the third to house the National Gallery, was designed by William Wilkins from 1832 to 1838. Only the façade onto Trafalgar Square remains essentially unchanged from this time, wilkinss building was often criticised for the perceived weaknesses of its design and for its lack of space, the latter problem led to the establishment of the Tate Gallery for British art in 1897. The Sainsbury Wing, an extension to the west by Robert Venturi, the current Director of the National Gallery is Gabriele Finaldi. The late 18th century saw the nationalisation of royal or princely art collections across mainland Europe, great Britain, however, did not emulate the continental model, and the British Royal Collection remains in the sovereigns possession today. In 1777 the British government had the opportunity to buy an art collection of international stature, the MP John Wilkes argued for the government to buy this invaluable treasure and suggested that it be housed in a noble gallery. The twenty-five paintings from that now in the Gallery, including NG1, have arrived by a variety of routes. This offer was declined and Bourgeois bequeathed the collection to his old school, Dulwich College, the collection opened in Britains first purpose-built public gallery, the Dulwich Picture Gallery, in 1814. The British Institution, founded in 1805 by a group of aristocratic connoisseurs, the members lent works to exhibitions that changed annually, while an art school was held in the summer months. However, as the paintings that were lent were often mediocre, some resented the Institution. One of the Institutions founding members, Sir George Beaumont, Bt, in 1823 another major art collection came on the market, which had been assembled by the recently deceased John Julius Angerstein. Angerstein was a Russian-born émigré banker based in London, his collection numbered 38 paintings, including works by Raphael, on 1 July 1823 George Agar Ellis, a Whig politician, proposed to the House of Commons that it purchase the collection. The appeal was given added impetus by Beaumonts offer, which came with two conditions, that the government buy Angersteins collection, and that a building was to be found
National Gallery, London
National Gallery, London
–
Location within Central London
National Gallery, London
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The Raising of Lazarus by
Sebastiano del Piombo, from the collection of
John Julius Angerstein. This became the founding collection of the National Gallery in 1824. The painting has the
accession number NG1, making it officially the first painting to enter the Gallery.
National Gallery, London
–
100
Pall Mall, the home of the National Gallery from 1824 to 1834.
35.
Marcel Proust
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He is considered by critics and writers to be one of the most influential authors of the 20th century. Proust was born in Auteuil at the home of his great-uncle on 10 July 1871 and he was born during the violence that surrounded the suppression of the Paris Commune, and his childhood corresponded with the consolidation of the French Third Republic. Prousts father, Adrien Proust, was a prominent pathologist and epidemiologist, studying cholera in Europe and he wrote numerous articles and books on medicine and hygiene. Prousts mother, Jeanne Clémence Weil, was the daughter of a wealthy Jewish family from Alsace, literate and well-read, she demonstrated a well-developed sense of humour in her letters, and her command of English was sufficient to help with her sons translations of John Ruskin. Proust was raised in his fathers Catholic faith and he was baptized and later confirmed as a Catholic, but he never formally practiced that faith. He later became an atheist and was somewhat of a mystic, by the age of nine, Proust had had his first serious asthma attack, and thereafter he was considered a sickly child. Proust spent long holidays in the village of Illiers, in 1882, at the age of eleven, Proust became a pupil at the Lycée Condorcet, but his education was disrupted by his illness. Despite this he excelled in literature, receiving an award in his final year, thanks to his classmates, he was able to gain access to some of the salons of the upper bourgeoisie, providing him with copious material for In Search of Lost Time. As a young man, Proust was a dilettante and a social climber whose aspirations as a writer were hampered by his lack of self-discipline. His reputation from this period, as a snob and an amateur, contributed to his troubles with getting Swanns Way. It is through Mme Arman de Caillavet that he made the acquaintance of Anatole France, Proust had a close relationship with his mother. To appease his father, who insisted that he pursue a career, after exerting considerable effort, he obtained a sick leave that extended for several years until he was considered to have resigned. He never worked at his job, and he did not move from his parents apartment until after both were dead and his life and family circle changed markedly between 1900 and 1905. In February 1903, Prousts brother, Robert Proust, married and his father died in November of the same year. Finally, and most crushingly, Prousts beloved mother died in September 1905 and she left him a considerable inheritance. His health throughout this period continued to deteriorate, Proust spent the last three years of his life mostly confined to his bedroom, sleeping during the day and working at night to complete his novel. He died of pneumonia and an abscess in 1922. He was buried in the Père Lachaise Cemetery in Paris, Proust was involved in writing and publishing from an early age
Marcel Proust
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The novelist in 1900
Marcel Proust
–
Marcel Proust (seated),
Robert de Flers (left) and
Lucien Daudet (right), ca. 1894.
Marcel Proust
–
Jean Béraud, La Sortie du
lycée Condorcet
Marcel Proust
–
102 Boulevard Haussmann, Paris, where Marcel Proust lived from 1907 to 1919
36.
In Search of Lost Time
–
In Search of Lost Time – previously also translated as Remembrance of Things Past – is a novel in seven volumes, written by Marcel Proust. The novel began to shape in 1909. Proust continued to work on it until his illness in the autumn of 1922 forced him to break off. Proust established the early on, but even after volumes were initially finished he kept adding new material. The work was published in France between 1913 and 1927, Proust paid for the publication of the first volume after it had been turned down by leading editors who had been offered the manuscript in longhand. The novel had great influence on literature, some writers have sought to emulate it. In the centenary year of Du côté de chez Swann, Edmund White pronounced À la recherche du temps perdu the most respected novel of the twentieth century. The novel was published in seven volumes, Swanns Way was rejected by a number of publishers, including Fasquelle, Ollendorff. Proust eventually arranged with the publisher Grasset to pay the cost of publication himself, when published it was advertised as the first of a three-volume novel. Du côté de chez Swann is divided into four parts, Combray I, Combray II, Un Amour de Swann, a third-person novella within Du côté de chez Swann, Un Amour de Swann is sometimes published as a volume by itself. Combray I is also similarly excerpted, it ends with the famous madeleine cake episode, in early 1914 Gide, who had been involved in NRFs rejection of the book, wrote to Proust to apologize and to offer congratulations on the novel. For several days I have been unable to put your book down, Gallimard offered to publish the remaining volumes, but Proust chose to stay with Grasset. In the Shadow of Young Girls in Flower was scheduled to be published in 1914 but was delayed by the onset of World War I, at the same time, Grassets firm was closed down when the publisher went into military service. This freed Proust to move to Gallimard, where all of the subsequent volumes were published, meanwhile, the novel kept growing in length and in conception. When published, the novel was awarded the Prix Goncourt in 1919, the Guermantes Way was originally published in two volumes as Le Côté de Guermantes I and Le Côté de Guermantes II. Sodom and Gomorrah was originally published in two volumes, the first forty pages of Sodome et Gomorrhe initially appeared at the end of Le Côté de Guermantes II, the remainder appearing as Sodome et Gomorrhe I and Sodome et Gomorrhe II. It was the last volume over which Proust supervised publication before his death in November 1922, the publication of the remaining volumes was carried out by his brother, Robert Proust, and Jacques Rivière. The Prisoner is the first volume of the section within In Search of Lost Time known as le Roman dAlbertine, the name Albertine first appears in Prousts notebooks in 1913
In Search of Lost Time
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A first galley proof of À la recherche du temps perdu: Du côté de chez Swann with Proust's handwritten corrections
In Search of Lost Time
–
Illiers, the country town overlooked by a church steeple where Proust spent time as a child and which he described as "Combray" in the novel. The town adopted the name
Illiers-Combray in homage.
In Search of Lost Time
–
Portrait of Mme
Georges Bizet, née
Geneviève Halévy, by
Jules-Élie Delaunay, in
Musée d'Orsay (1878). She served as partial inspiration for the character of Odette.
In Search of Lost Time
–
The beach at
Cabourg, a seaside resort that was the model for Balbec in the novel
37.
The Attributes of Civilian and Military Music
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They were exhibited at the Salon in 1767 and installed in the Château the following year. The Châteaus goods were confiscated by the state and the paintings were sold at auction. They were acquired by the portrait painter Jean-Sébastien Rouillard, then by François Marcille, via a gift from Eudoxes descendents and from the Société des amis du Louvre, the Louvre Museum was able to purchase them in 2010
The Attributes of Civilian and Military Music
–
The Attributes of Civilian Music
The Attributes of Civilian and Military Music
–
The Attributes of Military Music
38.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
International Standard Book Number
–
A 13-digit ISBN, 978-3-16-148410-0, as represented by an
EAN-13 bar code
39.
Metropolitan Museum of Art
–
The Metropolitan Museum of Art, colloquially the Met, is located in New York City and is the largest art museum in the United States, and is among the most visited art museums in the world. Its permanent collection contains two million works, divided among seventeen curatorial departments. The main building, on the edge of Central Park along Manhattans Museum Mile, is by area one of the worlds largest art galleries. A much smaller second location, The Cloisters at Fort Tryon Park in Upper Manhattan, contains a collection of art, architecture. On March 18,2016, the museum opened the Met Breuer museum at Madison Avenue in the Upper East Side, it extends the museums modern, the Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, Indian, and Islamic art. The museum is home to collections of musical instruments, costumes and accessories, as well as antique weapons. Several notable interiors, ranging from first-century Rome through modern American design, are installed in its galleries, the Metropolitan Museum of Art was founded in 1870. The founders included businessmen and financiers, as well as leading artists and thinkers of the day and it opened on February 20,1872, and was originally located at 681 Fifth Avenue. The Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, the museum is also home to encyclopedic collections of musical instruments, costumes and accessories, and antique weapons and armor from around the world. A number of interiors, ranging from 1st century Rome through modern American design, are permanently installed in the Mets galleries. In addition to its permanent exhibitions, the Met organizes and hosts traveling shows throughout the year. The director of the museum is Thomas P. Campbell, a long-time curator and it was announced on February 28th,2017 that Campbell will be stepping down as the Mets director and CEO, effective June. On March 1st,2017 the BBC reported that Daniel Weiss shall be the acting CEO until a replacement is found, Beginning in the late 19th century, the Met started to acquire ancient art and artifacts from the Near East. From a few tablets and seals, the Mets collection of Near Eastern art has grown to more than 7,000 pieces. The highlights of the include a set of monumental stone lamassu, or guardian figures. The Mets Department of Arms and Armor is one of the museums most popular collections. Among the collections 14,000 objects are many pieces made for and used by kings and princes, including armor belonging to Henry VIII of England, Henry II of France, Rockefeller donated his more than 3, 000-piece collection to the museum. The Mets Asian department holds a collection of Asian art, of more than 35,000 pieces, the collection dates back almost to the founding of the museum, many of the philanthropists who made the earliest gifts to the museum included Asian art in their collections
Metropolitan Museum of Art
–
The Metropolitan Museum of Art
Metropolitan Museum of Art
Metropolitan Museum of Art
–
The facade of the Met dominates the city's "
Museum Mile ".
Metropolitan Museum of Art
–
The Great Hall
40.
Virtual International Authority File
–
The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
Virtual International Authority File
–
Screenshot 2012
41.
Integrated Authority File
–
The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used mainly for documentation in libraries and increasingly also by archives, the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero license, the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, and an approach to unambiguous identification of single elements. It also comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format
Integrated Authority File
–
GND screenshot
42.
Union List of Artist Names
–
The Union List of Artist Names is an online database using a controlled vocabulary currently containing around 293,000 names and other information about artists. Names in ULAN may include names, pseudonyms, variant spellings, names in multiple languages. Among these names, one is flagged as the preferred name, the focus of each ULAN record is an artist. Currently there are around 120,000 artists in the ULAN, in the database, each artist record is identified by a unique numeric ID. Linked to each artist record are names, related artists, sources for the data, the temporal coverage of the ULAN ranges from Antiquity to the present and the scope is global. The ULAN includes proper names and associated information about artists, artists may be either individuals or groups of individuals working together. Artists in the ULAN generally represent creators involved in the conception or production of visual arts, repositories and some donors are included as well. Work on the ULAN began in 1984, when the Getty decided to merge, in 1987 the Getty created a department dedicated to compiling and distributing terminology. The ULAN grows and changes via contributions from the user community, although originally intended only for use by Getty projects, the broader art information community outside the Getty expressed a need to use ULAN for cataloging and retrieval. Its scope was broadened to include corporate bodies such as firms and repositories of art. The ULAN was founded under the management of Eleanor Fink, the ULAN has been constructed over the years by numerous members of the user community and an army of dedicated editors, under the supervision of several managers. The ULAN was published in 1994 in hardcopy and machine-readable files, given the growing size and frequency of changes and additions to the ULAN, by 1997 it had become evident that hard-copy publication was impractical. It is now published in automated formats only, in both a searchable online Web interface and in data files available for licensing, final editorial control of the ULAN is maintained by the Getty Vocabulary Program, using well-established editorial rules. The current managers of the ULAN are Patricia Harpring, Managing Editor, entities in the Person facet typically have no children. Entities in the Corporate Body facet may branch into trees, there may be multiple broader contexts, making the ULAN structure polyhierarchical. In addition to the relationships, the ULAN also has equivalent. Contributors to the Getty Vocabularies and implementers of the licensed vocabulary data may consult these guidelines as well
Union List of Artist Names
–
Contents
43.
National Library of Australia
–
In 2012–2013, the National Library collection comprised 6,496,772 items, and an additional 15,506 metres of manuscript material. In 1901, a Commonwealth Parliamentary Library was established to serve the newly formed Federal Parliament of Australia, from its inception the Commonwealth Parliamentary Library was driven to development of a truly national collection. The present library building was opened in 1968, the building was designed by the architectural firm of Bunning and Madden. The foyer is decorated in marble, with windows by Leonard French. In 2012–2013 the Library collection comprised 6,496,772 items, the Librarys collections of Australiana have developed into the nations single most important resource of materials recording the Australian cultural heritage. Australian writers, editors and illustrators are actively sought and well represented—whether published in Australia or overseas, approximately 92. 1% of the Librarys collection has been catalogued and is discoverable through the online catalogue. The Library has digitized over 174,000 items from its collection and, the Library is a world leader in digital preservation techniques, and maintains an Internet-accessible archive of selected Australian websites called the Pandora Archive. A core Australiana collection is that of John A. Ferguson, the Library has particular collection strengths in the performing arts, including dance. The Librarys considerable collections of general overseas and rare materials, as well as world-class Asian. The print collections are further supported by extensive microform holdings, the Library also maintains the National Reserve Braille Collection. The Library has acquired a number of important Western and Asian language scholarly collections from researchers, williams Collection The Asian Collections are searchable via the National Librarys catalogue. The National Library holds a collection of pictures and manuscripts. The manuscript collection contains about 26 million separate items, covering in excess of 10,492 meters of shelf space, the collection relates predominantly to Australia, but there are also important holdings relating to Papua New Guinea, New Zealand and the Pacific. The collection also holds a number of European and Asian manuscript collections or single items have received as part of formed book collections. Examples are the papers of Alfred Deakin, Sir John Latham, Sir Keith Murdoch, Sir Hans Heysen, Sir John Monash, Vance Palmer and Nettie Palmer, A. D. Hope, Manning Clark, David Williamson, W. M. The Library has also acquired the records of many national non-governmental organisations and they include the records of the Federal Secretariats of the Liberal party, the A. L. P, the Democrats, the R. S. L. Finally, the Library holds about 37,000 reels of microfilm of manuscripts and archival records, mostly acquired overseas and predominantly of Australian, the National Librarys Pictures collection focuses on Australian people, places and events, from European exploration of the South Pacific to contemporary events. Art works and photographs are acquired primarily for their informational value, media represented in the collection include photographs, drawings, watercolours, oils, lithographs, engravings, etchings and sculpture/busts
National Library of Australia
National Library of Australia
–
National Library of Australia as viewed from
Lake Burley Griffin,
Canberra
National Library of Australia
–
The original National Library building on Kings Avenue, Canberra, was designed by Edward Henderson. Originally intended to be several wings, only one wing was completed and was demolished in 1968. Now the site of the Edmund Barton Building.
National Library of Australia
–
The library seen from Lake Burley Griffin in autumn.
44.
National Diet Library
–
The National Diet Library is the only national library in Japan. It was established in 1948 for the purpose of assisting members of the National Diet of Japan in researching matters of public policy, the library is similar in purpose and scope to the United States Library of Congress. The National Diet Library consists of two facilities in Tokyo and Kyoto, and several other branch libraries throughout Japan. The Diets power in prewar Japan was limited, and its need for information was correspondingly small, the original Diet libraries never developed either the collections or the services which might have made them vital adjuncts of genuinely responsible legislative activity. Until Japans defeat, moreover, the executive had controlled all political documents, depriving the people and the Diet of access to vital information. The U. S. occupation forces under General Douglas MacArthur deemed reform of the Diet library system to be an important part of the democratization of Japan after its defeat in World War II. In 1946, each house of the Diet formed its own National Diet Library Standing Committee, hani Gorō, a Marxist historian who had been imprisoned during the war for thought crimes and had been elected to the House of Councillors after the war, spearheaded the reform efforts. Hani envisioned the new body as both a citadel of popular sovereignty, and the means of realizing a peaceful revolution, the National Diet Library opened in June 1948 in the present-day State Guest-House with an initial collection of 100,000 volumes. The first Librarian of the Diet Library was the politician Tokujirō Kanamori, the philosopher Masakazu Nakai served as the first Vice Librarian. In 1949, the NDL merged with the National Library and became the national library in Japan. At this time the collection gained a million volumes previously housed in the former National Library in Ueno. In 1961, the NDL opened at its present location in Nagatachō, in 1986, the NDLs Annex was completed to accommodate a combined total of 12 million books and periodicals. The Kansai-kan, which opened in October 2002 in the Kansai Science City, has a collection of 6 million items, in May 2002, the NDL opened a new branch, the International Library of Childrens Literature, in the former building of the Imperial Library in Ueno. This branch contains some 400,000 items of literature from around the world. Though the NDLs original mandate was to be a library for the National Diet. In the fiscal year ending March 2004, for example, the library reported more than 250,000 reference inquiries, in contrast, as Japans national library, the NDL collects copies of all publications published in Japan. The NDL has an extensive collection of some 30 million pages of documents relating to the Occupation of Japan after World War II. This collection include the documents prepared by General Headquarters and the Supreme Commander of the Allied Powers, the Far Eastern Commission, the NDL maintains a collection of some 530,000 books and booklets and 2 million microform titles relating to the sciences
National Diet Library
–
Tokyo Main Library of the National Diet Library
National Diet Library
–
Kansai-kan of the National Diet Library
National Diet Library
–
The National Diet Library
National Diet Library
–
Main building in Tokyo
45.
Netherlands Institute for Art History
–
The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation, archives, and books on Western art from the late Middle Ages until modern times, all of this is open to the public, and much of it has been digitized and is available on their website. The main goal of the bureau is to collect, categorize, via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries. The library owns approximately 450,000 titles, of which ca.150,000 are auction catalogs, there are ca.3,000 magazines, of which 600 are currently running subscriptions. Though most of the text is in Dutch, the record format includes a link to library entries and images of known works. The RKD also manages the Dutch version of the Art and Architecture Thesaurus, the original version is an initiative of the Getty Research Institute in Los Angeles, California. Their bequest formed the basis for both the art collection and the library, which is now housed in the Koninklijke Bibliotheek. Though not all of the holdings have been digitised, much of its metadata is accessible online. The website itself is available in both a Dutch and an English user interface, in the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record, usually of the form, https, for example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number, to reference an artwork page directly, use the code listed at the bottom of the record, usually of the form, https, //rkd. nl/en/explore/images/ followed by the artworks record number. For example, the record number for The Night Watch is 3063. The Art and Architecture Thesaurus also assigns a record for each term, rather, they are used in the databases and the databases can be searched for terms. For example, the painting called The Night Watch is a militia painting, the thesaurus is a set of general terms, but the RKD also contains a database for an alternate form of describing artworks, that today is mostly filled with biblical references. To see all images that depict Miriams dance, the associated iconclass code 71E1232 can be used as a search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
Netherlands Institute for Art History
–
As the logos on the window show, the RKD shares the same building located at
Den Haag Centraal with the National Archives, the Nederlands Letterkundig Museum (nl) (LM), the
Huygens ING, the
Netherlands Music Institute (NMI) and the
Koninklijke Bibliotheek.
