1.
Francisque Millet
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Francisque Millet, also known as Jean-François Milée or Millet I, was a Flemish-French landscape painter of the Baroque era. According to Houbraken, Millet was the son of a worker from Dijon. Since he found a market for work in Antwerp, he stayed there and when later his son showed a talent for drawing, he apprenticed him to Laurentius Frank. This Genoels wrote Houbraken that he met Millet as a boy of 17 in 1659 in Paris where he was working with his cousin. Genoels claimed that the young Millet had a memory for detail. He could thus make copies of paintings with ease, at the age of eighteen, he married his masters daughter. He specialized in Italianate landscapes with figures in the manner of Pousyn, though he enjoyed success on his travels through France, England, and Holland, he tended to spend more than he earned, a practise which Houbraken disapproved of. He suffered from a high fever which caused him to go insane. He was buried in the St Nicolas-des-Champs church in Paris and his son, also named Jean François Millet, and also called Francisque, was born in Paris, and was made a member of the Academy of Painting in 1709. He consulted Watteau and other followers of the fête galante school when he wanted figures for his landscapes, the museum of Grenoble has a “Paysage” by him which is adorned with Watteaus figures. Though Houbraken claimed that Millet had two sons who became painters, the Dutch RKD only shows him influencing the painter Jean-François Millet and Jean Coustel. Perhaps because of the confusion between this painter and later painters with the name, most notably Jean-François Millet, Mark Twain later wrote a farcical play called Is He Dead. About an artist who stages his own death in order to more money with his work
2.
Nadar (photographer)
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Nadar was the pseudonym of Gaspard-Félix Tournachon, a French photographer, caricaturist, journalist, novelist, and balloonist. Photographic portraits by Nadar are held by many of the national collections of photographs. Nadar was born in April 1820 in Paris and his father, Victor Tournachon, was a printer and bookseller. After his fathers death, Nadar decided to quit his studies for economic reasons. Nadar started working as a caricaturist and novelist for various newspapers and he fell in with the Parisian bohemian group of Gérard de Nerval, Charles Baudelaire and Théodore de Banville. His friends picked a nickname for him, Tournadar, which later became Nadar and his work was published in Le Charivari for the first time in 1848. In 1849, he founded the Revue comique and the Petit journal pour rire, from work as a caricaturist, he moved on to photography, particularly portraits. He opened his studio in rue Saint Lazare in 1854. Nadar photographed a wide range of personalities, politicians, stage actors, writers, painters, portrait photography was going through a period of native industrialization and Nadar refused to use the traditional sumptuous decors, preferred natural daylight and despised useless accessories. In 1886, with his son Paul, he did what may be the first photo-report and it was published in Le Journal Illustré. He took his first photographs in 1853 and in 1855 opened a studio at 25 Boulevard des Capucines. He also pioneered the use of lighting in photography, working in the catacombs of Paris. He was the first person to photograph above ground with his balloons, as well as the first to photograph below ground, Le Géant was badly damaged at the end of its second flight, leading Nadar to the conviction that heavier-than-air machines would be more successful. Later, The Society for the Encouragement of Aerial Locomotion by Means of Heavier than Air Machines was established, with Nadar as president, Nadar was the inspiration for the character of Michael Ardan in Vernes From the Earth to the Moon. On his visit to Brussels with Le Géant, on 26 September 1864, crowd control barriers are still known in Belgium as Nadar barriers. In April 1874, he lent his studio to a group of painters to present the first exhibition of the Impressionists. He photographed Victor Hugo on his death-bed in 1885 and he is credited with having published the first photo-interview, and also took erotic photographs. From 1895 until his return to Paris in 1909, the Nadar photo studio was in Marseilles, Nadar died in 1910, aged 89
3.
Normandy
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Normandy is one of the regions of France, roughly corresponding to the historical Duchy of Normandy. Administratively, Normandy is divided into five departments, Calvados, Eure, Manche, Orne and it covers 30,627 km², forming roughly 5% of the territory of France. Its population of 3.37 million accounts for around 5% of the population of France, Normans is the name given to the inhabitants of Normandy, and the region is the homeland of the Norman language. The historical region of Normandy comprised the region of Normandy, as well as small areas now part of the départements, or departments of Mayenne. For a century and a following the Norman conquest of England in 1066, Normandy and England were linked by Norman. Archaeological finds, such as paintings, prove that humans were present in the region in prehistoric times. Celts invaded Normandy in successive waves from the 4th to the 3rd century BC, when Julius Caesar invaded Gaul, there were nine different Celtic tribes living in Normandy. The Romanisation of Normandy was achieved by the methods, Roman roads. Classicists have knowledge of many Gallo-Roman villas in Normandy, in the late 3rd century, barbarian raids devastated Normandy. Coastal settlements were raided by Saxon pirates, Christianity also began to enter the area during this period. In 406, Germanic tribes began invading from the east, while the Saxons subjugated the Norman coast, the Roman Emperor withdrew from most of Normandy. As early as 487, the area between the River Somme and the River Loire came under the control of the Frankish lord Clovis, the Vikings started to raid the Seine Valley during the middle of the 9th century. As early as 841, a Viking fleet appeared at the mouth of the Seine, after attacking and destroying monasteries, including one at Jumièges, they took advantage of the power vacuum created by the disintegration of Charlemagnes empire to take northern France. The fiefdom of Normandy was created for the Norwegian Viking leader Hrólfr Ragnvaldsson, Rollo had besieged Paris but in 911 entered vassalage to the king of the West Franks, Charles the Simple, through the Treaty of Saint-Clair-sur-Epte. In exchange for his homage and fealty, Rollo legally gained the territory which he, the name Normandy reflects Rollos Viking origins. The descendants of Rollo and his followers adopted the local Gallo-Romance language and they became the Normans – a Norman-speaking mixture of Saxons and indigenous Franks and Celts. Besides the Norman conquest of England and the subsequent conquests of Wales and Ireland, Norman families, such as that of Tancred of Hauteville, Rainulf Drengot and Guimond de Moulins played important parts in the Norman conquest of southern Italy and Crusades. They also carved out a place for themselves and their descendants in the Crusader states of Asia Minor, the 14th century Norman explorer Jean de Béthencourt established a kingdom in the Canary Islands
4.
Barbizon
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Barbizon is a commune in the Seine-et-Marne department in north-central France. It is located near the Fontainebleau Forest, the Barbizon school of painters is named after the village, Théodore Rousseau and Jean-François Millet, leaders of the school, made their homes and died in the village
5.
Realism (arts)
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Realism in the arts is the attempt to represent subject matter truthfully, without artificiality and avoiding artistic conventions, implausible, exotic and supernatural elements. Realism has been prevalent in the arts at many periods, and is in part a matter of technique and training. In the visual arts, illusionistic realism is the depiction of lifeforms, perspective. Realist works of art may emphasize the mundane, ugly or sordid, such as works of realism, regionalism. There have been various movements in the arts, such as the opera style of verismo, literary realism, theatrical realism. The realism art movement in painting began in France in the 1850s, the realist painters rejected Romanticism, which had come to dominate French literature and art, with roots in the late 18th century. Realism is the precise, detailed and accurate representation in art of the appearance of scenes. Realism in this sense is also called naturalism, mimesis or illusionism, realistic art was created in many periods, and it is in large part a matter of technique and training, and the avoidance of stylization. It becomes especially marked in European painting in the Early Netherlandish painting of Jan van Eyck, however such realism is often used to depict, for example, angels with wings, which were not things the artists had ever seen in real life. It is the choice and treatment of matter that defines Realism as a movement in painting. The development of increasingly accurate representation of the appearances of things has a long history in art. It includes elements such as the depiction of the anatomy of humans and animals, of perspective and effects of distance. Ancient Greek art is recognised as having made great progress in the representation of anatomy. Pliny the Elders famous story of birds pecking at grapes painted by Zeuxis in the 5th century BC may well be a legend, roman portraiture, when not under too much Greek influence, shows a greater commitment to a truthful depiction of its subjects. The art of Late Antiquity famously rejected illusionism for expressive force, scientific methods of representing perspective were developed in Italy and gradually spread across Europe, and accuracy in anatomy rediscovered under the influence of classical art. As in classical times, idealism remained the norm, intriguingly, having led the development of illusionic painting, still life was to be equally significant in its abandonment in Cubism. The depiction of ordinary, everyday subjects in art also has a history, though it was often squeezed into the edges of compositions. However these objects are at least largely there because they carry layers of complex significance, pieter Bruegel the Elder pioneered large panoramic scenes of peasant life
6.
Barbizon school
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The Barbizon school of painters were part of an art movement towards Realism in art, which arose in the context of the dominant Romantic Movement of the time. The Barbizon school was active roughly from 1830 through 1870 and it takes its name from the village of Barbizon, France, near the Forest of Fontainebleau, where many of the artists gathered. Some of the most prominent features of school are its tonal qualities, color, loose brushwork. In 1824 the Salon de Paris exhibited works of John Constable and his rural scenes influenced some of the younger artists of the time, moving them to abandon formalism and to draw inspiration directly from nature. Natural scenes became the subjects of their paintings rather than mere backdrops to dramatic events, during the Revolutions of 1848 artists gathered at Barbizon to follow Constables ideas, making nature the subject of their paintings. The French landscape became a theme of the Barbizon painters. Millet extended the idea from landscape to figures — peasant figures, scenes of peasant life, in The Gleaners, for example, Millet portrays three peasant women working at the harvest. Gleaners are poor people who are permitted to gather the remains after the owners of the complete the main harvest. The owners and their laborers are seen in the back of the painting, Millet shifted the focus and the subject matter from the rich and prominent to those at the bottom of the social ladders. To emphasize their anonymity and marginalized position, he hid their faces, the womens bowed bodies represent their everyday hard work. In the spring of 1829, Jean-Baptiste-Camille Corot came to Barbizon to paint in the Forest of Fontainebleau, while there he met the members of the Barbizon school, Théodore Rousseau, Paul Huet, Constant Troyon, Jean-François Millet, and the young Charles-François Daubigny. During the late 1860s, the Barbizon painters attracted the attention of a generation of French artists studying in Paris. Several of those artists visited Fontainebleau Forest to paint the landscape, including Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, in the 1870s those artists, among others, developed the art movement called Impressionism and practiced plein air painting. Both Théodore Rousseau and Jean-François Millet died at Barbizon, painters in other countries were also influenced by this art. Beginning in the nineteenth century, many artists came to Paris from Austria-Hungary to study the new movements. For instance, the Hungarian painter János Thorma studied in Paris as a young man, in 1896 he was one of the founders of the Nagybánya artists colony in what is now Baia Mare, Romania, which brought impressionism to Hungary. Marlatt Adolphe Joseph Thomas Monticelli Eugène Boudin Antonio Fontanesi American Barbizon school Art colony Naturalism landscape art Macchiaioli Catalogues des Collections des Musees de France, media related to Barbizon School at Wikimedia Commons Hecht Museum Cambridge Art Gallery
7.
Realism (art movement)
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Realism was an artistic movement that began in France in the 1850s, after the 1848 Revolution. Realists rejected Romanticism, which had dominated French literature and art since the late 18th century, Realism revolted against the exotic subject matter and exaggerated emotionalism and drama of the Romantic movement. Instead it sought to portray real and typical contemporary people and situations with truth and accuracy, Realist works depicted people of all classes in situations that arise in ordinary life, and often reflected the changes brought by the Industrial and Commercial Revolutions. The popularity of realistic works grew with the introduction of photography—a new visual source that created a desire for people to produce representations which look objectively real. The Realists depicted everyday subjects and situations in contemporary settings, classical idealism and Romantic emotionalism and drama were avoided equally, and often sordid or untidy elements of subjects were not smoothed over or omitted. Treatments of subjects in a heroic or sentimental manner were equally rejected, Realism as an art movement was led by Gustave Courbet in France. The Realist movement began in the century as a reaction to Romanticism. In favor of depictions of life, the Realist painters used common laborers. The chief exponents of Realism were Gustave Courbet, Jean-François Millet, Honoré Daumier, jules Bastien-Lepage is closely associated with the beginning of Naturalism, an artistic style that emerged from the later phase of the Realist movement and heralded the arrival of Impressionism. Realists used unprettified detail depicting the existence of contemporary life, coinciding in the contemporaneous naturalist literature of Émile Zola, Honoré de Balzac. Courbet was the proponent of Realism and he challenged the popular history painting that was favored at the state-sponsored art academy. His groundbreaking paintings A Burial at Ornans and The Stonebreakers depicted ordinary people from his native region, the paintings were done on huge canvases that would typically be used for history paintings. The French Realist movement had stylistic and ideological equivalents in all other Western countries, the Ashcan School, an art movement largely based in New York City, included such artists as George Bellows and Robert Henri. It helped to define American realism in its tendency to depict the life of poorer members of society. 19th Century French Realism, Heilbrunn Timeline of Art History, Metropolitan Museum of Art
8.
Cherbourg-Octeville
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Cherbourg-Octeville is a city and former commune situated at the northern end of the Cotentin peninsula in the northwestern French department of Manche. It is a subprefecture of its department, and was formed when the commune of Cherbourg absorbed Octeville on 28 February 2000. On 1 January 2016, it was merged into the new commune of Cherbourg-en-Cotentin, the city is a Maritime prefecture and sub-prefecture of la Manche. Cherbourg-en-Cotentin is protected by Cherbourg Harbour, between La Hague and Val de Saire, and the city has been a position over the centuries. A stopping point for prestigious transatlantic liners in the first half of the 20th century, limited by its geographical isolation from being a great commercial port, it is nonetheless an important shipbuilding centre, and a working-class city with a rural hinterland. Cherbourg-en-Cotentin is located at the tip of the Cotentin Peninsula, in the department of Manche. At the time of the 1999 census the city of Cherbourg had an area of 6.91 square kilometres, the largest city in the Department of Manche, it is the result of the merger of the communes of Cherbourg and Octeville. The amalgamated city today has an area of 14.26 km2. Cherbourg is situated at the mouth of the Divette and at the south of the bay between Cap Lévi to the east and Cap de La Hague to the west, Cherbourg-Octeville is 120 km from the English coast. Cherbourg and Octeville-sur-Cherbourg once belonged to the deanery of La Hague, in 1786, a part of Equeurdreville joined Cherbourg, during the construction of the port, and then in 1802, a portion of Octeville. Thus, Cherbourg-Octeville lies both in La Hague and in the Val de Saire, like all Chantereyne and the area of the Mielles, the Cherbourg territory was reclaimed from the sea. Built at the level of the sea, the town developed at the foot of the Roule mountain and these folds result in layers of sandstone tilted 45° towards the north-east on la Fauconniere and the Montagne du Roule. These two cliffs are due to sea erosion in the Quaternary, the retreat of the sea then gave way to sand dunes and tidal marshes, destroyed by the urbanisation of the 17th and 19th centuries, identical to those of Collignon in Tourlaville. The greenschist, whose colour comes from chlorite and sericite, are used mainly for roofing in Nord-Cotentin, the Armorican sandstone of the Montagne du Roule is used for rubble and rockfill. Most of the quarries, which opened in the metropolitan area for building the harbour wall, are now closed. Cherbourg-en-Cotentin is bordered by the sea, the construction of the port of trade, from 1769, accompanied by the diversion of the Divette and the Trottebec gathered in the canal de retenue, along the Avenue de Paris and Rue du Val-de-Saire. The streams of the Bucaille and the Fay, which watered the Croûte du Homet, Cherbourg-en-Cotentin has a temperate oceanic climate. Its maritime character causes high humidity and a strong sea wind, commonly stormy but also low seasonal variations of temperature and few days of frost
9.
Baron Gros
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Antoine-Jean Gros, also known as Baron Gros, was both a French history and neoclassical painter. Born in Paris, Gros began to learn to draw at the age of six from his father, Jean-Antoine Gros, who was a miniature painter, and showed himself as a gifted artist. The death of his father, whose circumstances had been embarrassed by the French Revolution, threw Gros, in 1791 and he now devoted himself wholly to his profession, and competed in 1792 for the grand prix. He supported himself at Genoa by the means, producing a great quantity of miniatures and fixes. He visited Florence, but returned to Genoa where he made the acquaintance of Joséphine de Beauharnais and he followed her to Milan, where he was well received by her husband, Napoleon Bonaparte. On 15 November 1796, Gros was present with the army near Arcola when Bonaparte planted the French tricolor on the bridge, Gros seized on this incident, and showed by his treatment of it that he had found his vocation. In 1799, having escaped from the city of Genoa, Gros made his way to Paris. Les Pestiférés de Jaffa was followed by The Battle of Aboukir,1806, at the Salon of 1804, Gros debuted his painting Bonaparte Visiting the Plague Victims of Jaffa. The painting launched his career as a successful painter and it depicts Bonaparte in Jaffa visiting soldiers infected with the bubonic plague. He is portrayed reaching out to one of the sick, unfazed by the illness, while Bonaparte did actually visit the pesthouse, later, as his army prepared to withdraw from Syria, he ordered the poisoning of about fifty of his plague-infected men. The painting was commissioned as damage control when word spread of his actions, the painting is in the Neo-Classical style, though it shows elements such as the lighting and a taste for the exotic that are precursors to the upcoming Romantic ideals. In 1810, his Madrid and Napoleon at the Pyramids show that his star had deserted him, again citing Britannica, Exasperated by criticism and the consciousness of failure, Gros sought refuge in the gros pleasures of life. On 25 June 1835, he was drowned on the shores of the Seine at Meudon. From a paper which he had placed in his hat, it known that tired of life. Gros was decorated and named Baron of the Empire by Napoleon, after the Salon of 1808, the number of Gross pupils was very great, and was considerably augmented when, in 1815, David quit Paris and gave over his own classes to him. He became a member of the Institute, professor at the École des Beaux Arts, Gros had also been an inspiration to Eugene Delacroix, especially with his work in lithography. The two both worked in the time period, and both did portraits of Napoleon. Though at one point, Gros had referred to Delacroixs Chios, G. Dargenty produced a book titled Les Artistes Celebres Le Baron Gros GILBERT WOOD & Co
10.
Paul Delaroche
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Paul Delaroche was a French painter who achieved his greater successes painting history. He became famous in Europe for his scenes that often portrayed subjects from English. Delaroche aimed to depict his subjects and history with pragmatic realism, Delaroche was a leading pupil of Antoine-Jean Gros and later mentored a number of notable artists like Thomas Couture, Jean-Léon Gérôme, and Francisque Millet. Delaroche was born into a generation that saw the conflicts between Romanticism and Davidian Classicism. Davidian Classicism was widely accepted and enjoyed by society so as a developing artist at the time of the introduction of Romanticism in Paris, later in the 1830s, Delaroche exhibited the first of his major religious works. His change of subject and “the painting’s austere manner” were ill-received by critics and after 1837, at the time of his death in 1856, he was painting a series of four scenes from the Life of the Virgin. Only one work from this series was completed, the Virgin Contemplating the Crown of Thorns and he was born, worked, and died in Paris. His studio was in the rue Mazarin and his subjects were painted with a firm, solid, smooth surface, which gave an appearance of the highest finish. This texture was the manner of the day and was found in the works of Vernet, Ary Scheffer, Louis Léopold Robert. Among his students were British landscape artist Henry Mark Anthony, British history painters Edward Armitage and Charles Lucy, the first Delaroche picture exhibited was the large Jehosheba saving Joash. This exhibition led to his acquaintance with Théodore Géricault and Eugène Delacroix and he visited Italy in 1838 and 1843, when his father-in-law, Horace Vernet, was director of the French Academy in Rome. In 1845, he was elected into the National Academy of Design, New York, paul Delaroche was born into a family of artists, dealers, collectors, and art administrators. His father, Gregoire-Hippolyte Delaroche, was a prominent art dealer in Paris, paul Delaroche was the second of two sons and was introduced to fine art at a young age. At age nineteen, Delaroche was afforded by his father the opportunity to study at LÉcole des Beaux-Arts under the instruction of Louis Étienne Watelet. Delaroche was influenced by his father to focus on landscapes while he was at L’École because his brother, Jules-Hippolyte Delaroche, after two years at L’École, Delaroche voiced his disinterest in landscapes and acted on his overall disagreement to the French academic system. He left LÉcole des Beaux-Art in at the end of 1817, in the year 1818, Delaroche entered the studio of Antoine-Jean Gros where he could pursue his greater interest of history painting. Delaroche’s debuted at the Salon in 1822 where he exhibited Christ Descended from the Cross, the latter was a product of Gros’s influence and was praised by Géricault who supported the beginning of Romanticism. His painting, Joan of Arc in Prison, which was exhibited in the Salon of 1824, Delaroche studied the recent tradition of English history painting at the time, which he incorporated into his own productions
11.
Salon (Paris)
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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
12.
Otterlo
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Otterlo is a small village in the province of Gelderland in the Netherlands, in or near the Nationaal Park De Hoge Veluwe. The Kröller-Müller Museum, named after Helene Kröller-Müller, is situated nearby and has a collection of Vincent van Gogh paintings. Otterlo was a municipality until 1818, when it merged with Ede. Media related to Otterlo at Wikimedia Commons J. Kuyper, Gemeente Atlas van Nederland, 1865-1870, map of the former municipality, around 1868. CBC Archives - CBC Radio reporting from Otterlo April 17,1945
13.
Portrait painting
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See Portrait for more about the general topic of portraits. Portrait painting is a genre in painting, where the intent is to depict a human subject, the term portrait painting can also describe the actual painted portrait. Portraitists may create their work by commission, for public and private persons, portraits are often important state and family records, as well as remembrances. Historically, portrait paintings have primarily memorialized the rich and powerful, over time, however, it became more common for middle-class patrons to commission portraits of their families and colleagues. Today, portrait paintings are commissioned by governments, corporations, groups, clubs. In addition to painting, portraits can also be made in other such as etching, lithography, photography, video. A well-executed portrait is expected to show the essence of the subject or a flattering representation. As Aristotle stated, The aim of Art is to present not the appearance of things. In most cases, this results in a serious, closed lip stare, or as Charles Dickens put it, there are only two styles of portrait painting, the serious and the smirk. Even given these limitations, a range of subtle emotions is possible from quiet menace to gentle contentment. However, with the mouth relatively neutral, much of the facial expression needs to be created through the eyes, as author and artist Gordon C. Aymar states, the eyes are the place one looks for the most complete, reliable, and the eyebrows can register, almost single-handedly, wonder, pity, fright, pain, cynicism, concentration, wistfulness, displeasure, and expectation, in infinite variations and combinations. Portrait painting can depict the full length, half length, head and shoulders, or ‘head’, as well as in profile, three-quarter view, or full face, with varying directions of light. Occasionally, artists have created portraits with multiple views, as with Anthony van Dycks Triple Portrait of Charles I, there are even a few portraits where the front of the subject is not visible at all. Another example of the view in portraiture, in this case photography, can be found here. Among the other variables, the subject can be clothed or nude, indoors or out, standing, seated, reclining. Portrait paintings can be of individuals, couples, parents and children, families and they can be created in various media including oils, watercolor, pen and ink, pencil, charcoal, pastel, and mixed media. Artists may employ a wide-ranging palette of colors, as with Pierre-Auguste Renoirs Mme, charpentier and her children,1878 or restrict themselves to mostly white or black, as with Gilbert Stuarts Portrait of George Washington
14.
Le Havre
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Le Havre is an urban French commune and city in the Seine-Maritime department in the Normandy region of northwestern France. It is situated on the bank of the estuary of the river Seine on the Channel southwest of the Pays de Caux. Modern Le Havre remains deeply influenced by its employment and maritime traditions and its port is the second largest in France, after that of Marseille, for total traffic, and the largest French container port. The name Le Havre means the harbour or the port and its inhabitants are known as Havrais or Havraises. Administratively the commune is located in the Normandy region and, with Dieppe, is one of the two sub-prefectures of the Seine-Maritime department, Le Havre is the capital of the canton and since 1974 has been the see of the diocese of Le Havre. Le Havre is the most populous commune of Upper Normandy, although the population of the greater Le Havre conurbation is smaller than that of Rouen. It is also the second largest subprefecture in France, the city and port were founded by the King Francis I of France in 1517. Economic development in the Early modern period was hampered by wars, conflicts with the English, epidemics. It was from the end of the 18th century that Le Havre started growing, after the 1944 bombings the firm of Auguste Perret began to rebuild the city in concrete. Changes in years 1990–2000 were numerous, the right won the municipal elections and committed the city to the path of reconversion, seeking to develop the service sector and new industries. The Port 2000 project increased the capacity to compete with ports of northern Europe, transformed the southern districts of the city. In 2005 UNESCO inscribed the city of Le Havre as a World Heritage Site. The André Malraux Modern Art Museum is the second of France for the number of impressionist paintings, the city has been awarded two flowers by the National Council of Towns and Villages in Bloom in the Competition of cities and villages in Bloom. Le Havre is a major French city located some 50 kilometres west of Rouen on the shore of the English Channel, numerous roads link to Le Havre with the main access roads being the A29 autoroute from Amiens and the A13 autoroute from Paris linking to the A131 autoroute. Administratively, Le Havre is a commune in the Haute-Normandie region in the west of the department of Seine-Maritime, the urban area of Le Havre corresponds roughly to the territory of the Agglomeration community of Le Havre which includes 17 communes and 250,000 people. It occupies the tip of the natural region of Pays de Caux where it is the largest city. Le Havre is sandwiched between the coast of the Channel from south-west to north-west and the estuary of the Seine to the south, Le Havre belongs to the MLG community Paris Basin which was formed in the Mesozoic period. The Paris Basin consists of sedimentary rocks, the commune of Le Havre consists of two areas separated by a natural cliff edge, one part in the lower part of the town to the south including the harbour, the city centre and the suburbs
15.
Constant Troyon
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Constant Troyon was a French painter of the Barbizon school. In the early part of his career he painted mostly landscapes and it was only comparatively late in life that Troyon found his métier as a painter of animals, and achieved international recognition. He was born in Sèvres, near Paris, where his father was connected with the famous manufactory of porcelain, by the time he reached twenty-one he was travelling the country as an artist, and painting landscapes so long as his finances lasted. Roqueplan introduced Troyon to Rousseau, Jules Dupré, and the other Barbizon painters, but as a landscapist Troyon would never have been recognized as a thorough master, although his work of the period is marked with much sincerity and met with a certain success. In 1846 Troyon went to the Netherlands, and at the Hague saw Paulus Potters famous Young Bull, Troyon died, unmarried, at Paris on 21 February 1865, after a term of clouded intellect. He was buried in the Cimetière de Montmartre in the Montmartre Quarter of Paris, all his famous pictures are of date between 1850 and 1864, his earlier work being of comparatively little value. His mother, who survived him, instituted the Troyon prize for animal pictures at the École des Beaux Arts, troyons work is fairly well known to the public through a number of large engravings from his pictures. His Vallée de la Toucque, Normandy, is one of his greatest pictures, Émile van Marcke was his best-known pupil. This article incorporates text from a now in the public domain, Chisholm, Hugh, ed. Troyon. Works by or about Constant Troyon at Internet Archive
16.
Narcisse Diaz
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Narcisse Virgilio Díaz de la Peña was a French painter of the Barbizon school. Diaz was born in Bordeaux to Spanish parents, at the age of ten, Diaz became an orphan, and misfortune dogged his early years. His foot was bitten by a reptile in Meudon wood, near Sèvres, the bite was poorly dressed, and ultimately he lost his leg. However, as it turned out, the stump that replaced his leg became famous. At fifteen he entered the studios at Sèvres, first working in the decoration of porcelain occupied him, turkish and Oriental scenes attracted him, and he took to painting Eastern figures dressed in richly coloured garments, many of these paintings remain extant. He also spent much time at Barbizon, one of his teachers and friends in Paris was François Souchon. Around 1831 Díaz encountered Théodore Rousseau, for whom he possessed a great veneration, at Fontainebleau Díaz found Rousseau painting his wonderful forest pictures, and was determined to paint in the same way if possible. However, Rousseau was then in poor health, embittered against the world, on one occasion, Diaz followed him surreptitiously to the forest, with his wooden leg hindering, and he dodged round after the painter, trying to observe his method of work. After a time Díaz found a way to friendly with Rousseau. Rousseau was touched with the words of admiration, and finally taught Diaz all he knew. Díaz exhibited many pictures at the Paris Salon, and was decorated in 1851, during the Franco-German War he went to Brussels. After 1871, his works became fashionable and rose gradually in the estimation of collectors, díazs finest pictures are his forest scenes and storms, and it is on these that his fame rests. There are several examples of his work in the Louvre, perhaps the most notable of Diazs works are La Fée aux Perles, Sunset in the Forest, The Storm and The Forest of Fontainebleau. Diaz himself had no pupils, but François Visconti showed emulation his work to some degree. For a period, Jean-François Millet also painted figures in avowed imitation of Diazs then popular subjects. Renoir once said my hero was Díaz, in 1876, while visiting his sons grave, he caught a cold. He went to Menton in an attempt to recover his health, in 1851, he was decorated with the rank of Chevalier of the Légion d’honneur. Díazs son, Eugène-Émile, achieved fame as composer Eugène Diaz
17.
Charles Jacque
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Charles-Emile Jacque was a French painter of animals and engraver who was, with Jean-François Millet, part of the Barbizon School. He first learned to engrave maps when he spent seven years in the French Army, fleeing the Cholera epidemics that besieged Paris in the mid-nineteenth century, Charles Jacque relocated to Barbizon in 1849 with Millet. There, he painted rustic or pastoral subject matter, shepherds, flocks of sheep, pigs, in addition to painting, Jacque was also famous for his etchings and engravings. He, along with Félix Bracquemond and Felix Buhot, is credited with the revival of seventeenth-century techniques. He began his career as an engraver around 1841 by publishing a series of etchings with Louis Marvy and he followed this work with a series of engravings based on the works of Adriaen van Ostade, after which he began to create original engravings / artworks. Charles Baudelaire said of him, Mr. Jacque’s new reputation will continue to grow always and his etchings are very bold and his subject matter is well conceived. All that Mr. Jacque does on copper is filled with a freedom, henri Béraldi distinguished two periods in Jacque’s career. The first saw his creation of spontaneous, Dutch inspired vignettes. In the second, for which he is famous, he produced larger plates which. His sons Émile Jacque and Frédéric Jacque were both painters and engravers especially of rural subjects, another son, Lucien, was executed as a Communard during the French State’s bloody repression of the Paris Commune. Pierre-Olivier Fanica, Charles Jacque, 1813-1894, École de Barbizon, graveur original et peintre animalier In French
18.
Museum of Fine Arts, Boston
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The Museum of Fine Arts in Boston, Massachusetts, is the fourth largest museum in the United States. It contains more than 450,000 works of art, making it one of the most comprehensive collections in the Americas, with more than one million visitors a year, it is the 55th most-visited art museum in the world as of 2014. Founded in 1870, the moved to its current location in 1909. The museum is affiliated with the Tufts School of the Museum of Fine Arts, the Museum of Fine Arts was founded in 1870 and opened in 1876, with most of its initial collection taken from the Boston Athenæum Art Gallery. Francis Davis Millet, a local artist, was instrumental in starting the Art School affiliated with the museum and it was built almost entirely of red brick and terracotta with a small amount of stone in its base. The brick was produced by the Peerless Brick Company of Philadelphia, in 1907, plans were laid to build a new home for the museum on Huntington Avenue in Bostons Fenway-Kenmore neighborhood near the renowned Isabella Stewart Gardner Museum. Museum trustees decided to hire architect Guy Lowell to create a design for a museum so that could be built in stages as funding was obtained for each phase, two years later, the first section of Lowell’s neoclassical design was completed. It featured a 500-foot façade of granite and a grand rotunda, the museum moved to its new location later that year, the Copley Square Hotel eventually would replace the old building. The second phase of construction built a wing along the The Fens to house paintings galleries and it was funded entirely by Maria Antoinette Evans Hunt, the wife of wealthy business magnate Robert Dawson Evans, and opened in 1915. From 1916 through 1925, the noted artist John Singer Sargent painted the frescoes that adorn the rotunda, numerous additions enlarged the building throughout the years, including the Decorative Arts wing in 1928 and the Norma Jean Calderwood Garden Court and Terrace in 1997. The West Wing, designed by I. M. Pei, opened in 1981 and this wing now houses the museums cafe, restaurant, and gift shop as well as a special exhibition space. In the mid-2000s, the museum launched an effort to renovate. In 2011, Moodys Investors Service calculated that the museum had over $180 million in outstanding debt, however, the agency cited growing attendance, a large endowment, and positive cash flow as reasons to believe that the museums finances would become stable in the near future. The renovation included a new Art of the Americas Wing to feature artwork from North, South, in 2006, the groundbreaking ceremonies took place. The landscape architecture firm Gustafson Guthrie Nichol redesigned the Huntington Avenue and Fenway entrances, gardens, access roads, the wing opened on November 20,2010 with free admission to the public. Mayor Thomas Menino declared it Museum of Fine Arts Day, the 12, 000-square-foot glass-enclosed courtyard features a 42. 5-foot high glass sculpture, titled the Lime Green Icicle Tower, by Dale Chihuly. In 2014, the Art of the Americas Wing was recognized for its architectural achievement by being awarded the Harleston Parker Medal. In 2015, the museum renovated its Japanese garden, Tenshin-en, the garden, which originally opened in 1988, was designed by Japanese professor Kinsaku Nakane
19.
Franco-Prussian War
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The conflict was caused by Prussian ambitions to extend German unification and French fears of the shift in the European balance of power that would result if the Prussians succeeded. On 16 July 1870, the French parliament voted to declare war on the German Kingdom of Prussia, the German coalition mobilised its troops much more quickly than the French and rapidly invaded northeastern France. The German forces were superior in numbers, had training and leadership and made more effective use of modern technology, particularly railroads. The German states proclaimed their union as the German Empire under the Prussian king Wilhelm I, the Treaty of Frankfurt of 10 May 1871 gave Germany most of Alsace and some parts of Lorraine, which became the Imperial territory of Alsace-Lorraine. French determination to regain Alsace-Lorraine and fear of another Franco-German war, along with British apprehension about the balance of power, the causes of the Franco-Prussian War are deeply rooted in the events surrounding the unification of Germany. In the aftermath of the Austro-Prussian War of 1866, Prussia had annexed numerous territories and this new power destabilized the European balance of power established by the Congress of Vienna in 1815 after the Napoleonic Wars. France was strongly opposed to any further alliance of German states, in Prussia, some officials considered a war against France both inevitable and necessary to arouse German nationalism in those states that would allow the unification of a great German empire. Bismarck also knew that France should be the aggressor in the conflict to bring the southern German states to side with Prussia, many Germans also viewed the French as the traditional destabilizer of Europe, and sought to weaken France to prevent further breaches of the peace. The immediate cause of the war resided in the candidacy of Leopold of Hohenzollern-Sigmaringen, France feared encirclement by an alliance between Prussia and Spain. The Hohenzollern princes candidacy was withdrawn under French diplomatic pressure, releasing the Ems Dispatch to the public, Bismarck made it sound as if the king had treated the French envoy in a demeaning fashion, which inflamed public opinion in France. They also argue that he wanted a war to resolve growing domestic political problems, other historians, notably French historian Pierre Milza, dispute this. According to Milza, the Emperor had no need for a war to increase his popularity, the Ems telegram had exactly the effect on French public opinion that Bismarck had intended. This text produced the effect of a red flag on the Gallic bull, gramont, the French foreign minister, declared that he felt he had just received a slap. Napoleons new prime minister, Emile Ollivier, declared that France had done all that it could humanly and honorably do to prevent the war, a crowd of 15–20,000 people, carrying flags and patriotic banners, marched through the streets of Paris, demanding war. On 19 July 1870 a declaration of war was sent to the Prussian government, the southern German states immediately sided with Prussia. The French Army consisted in peacetime of approximately 400,000 soldiers, some of them were veterans of previous French campaigns in the Crimean War, Algeria, the Franco-Austrian War in Italy, and in the Mexican campaign. Under Marshal Adolphe Niel, urgent reforms were made, universal conscription and a shorter period of service gave increased numbers of reservists, who would swell the army to a planned strength of 800,000 on mobilisation. Those who for any reason were not conscripted were to be enrolled in the Garde Mobile, however, the Franco-Prussian War broke out before these reforms could be completely implemented
20.
Michelangelo
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Michelangelo di Lodovico Buonarroti Simoni was an Italian sculptor, painter, architect, and poet of the High Renaissance who exerted an unparalleled influence on the development of Western art. Considered to be the greatest living artist during his lifetime, he has since described as one of the greatest artists of all time. A number of Michelangelos works of painting, sculpture, and architecture rank among the most famous in existence and he sculpted two of his best-known works, the Pietà and David, before the age of thirty. As an architect, Michelangelo pioneered the Mannerist style at the Laurentian Library, at the age of 74, he succeeded Antonio da Sangallo the Younger as the architect of St. Peters Basilica. Michelangelo transformed the plan so that the end was finished to his design, as was the dome, with some modification. Michelangelo was unique as the first Western artist whose biography was published while he was alive, in his lifetime he was often called Il Divino. One of the qualities most admired by his contemporaries was his terribilità, the attempts by subsequent artists to imitate Michelangelos impassioned and highly personal style resulted in Mannerism, the next major movement in Western art after the High Renaissance. Michelangelo was born on 6 March 1475 in Caprese near Arezzo, at the time of Michelangelos birth, his father was the Judicial administrator of the small town of Caprese and local administrator of Chiusi. Michelangelos mother was Francesca di Neri del Miniato di Siena, the Buonarrotis claimed to descend from the Countess Mathilde of Canossa, this claim remains unproven, but Michelangelo himself believed it. Several months after Michelangelos birth, the returned to Florence. There Michelangelo gained his love for marble, as Giorgio Vasari quotes him, If there is good in me. Along with the milk of my nurse I received the knack of handling chisel and hammer, as a young boy, Michelangelo was sent to Florence to study grammar under the Humanist Francesco da Urbino. The young artist, however, showed no interest in his schooling, preferring to copy paintings from churches, the city of Florence was at that time the greatest centre of the arts and learning in Italy. Art was sponsored by the Signoria, by the merchant guilds and by patrons such as the Medici. The Renaissance, a renewal of Classical scholarship and the arts, had its first flowering in Florence, the sculptor Lorenzo Ghiberti had laboured for fifty years to create the bronze doors of the Baptistry, which Michelangelo was to describe as The Gates of Paradise. The exterior niches of the Church of Orsanmichele contained a gallery of works by the most acclaimed sculptors of Florence – Donatello, Ghiberti, Andrea del Verrocchio, and Nanni di Banco. The interiors of the churches were covered with frescos, begun by Giotto. During Michelangelos childhood, a team of painters had been called from Florence to the Vatican, among them was Domenico Ghirlandaio, a master in fresco painting, perspective, figure drawing, and portraiture who had the largest workshop in Florence at that period
21.
Nicolas Poussin
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Nicolas Poussin was the leading painter of the classical French Baroque style, although he spent most of his working life in Rome. His work is characterized by clarity, logic, and order, until the 20th century he remained a major inspiration for such classically oriented artists as Jacques-Louis David, Jean-Auguste-Dominique Ingres and Paul Cézanne. He worked in Rome for a circle of leading collectors from there and elsewhere, most of his works are history paintings of religious or mythological subjects that very often have a large landscape element. Early sketches attracted the notice of Quentin Varin, a painter, whose pupil Poussin became. There he entered the studios of the Flemish painter Ferdinand Elle and then of Georges Lallemand and he found French art in a stage of transition, the old apprenticeship system was disturbed, and the academic training destined to supplant it was not yet established by Simon Vouet. In Paris, Poussin was impressed by Italian art he viewed in the royal collection and he attempted to travel to Rome, but after reaching Florence he was forced, perhaps by ill health, to return to Paris. In 1622 he met Giambattista Marino, the poet to Marie de Medici. Marino employed him on illustrations for an edition of Ovids Metamorphoses. These Marino drawings preserved at Windsor Castle are among the few identifiable works of Poussin executed before his arrival in Rome. Marino took him into his household, and in 1624 enabled Poussin to rejoin him at Rome, Poussin was thirty when he arrived in Rome in 1624. At first he lodged with Simon Vouet, through Marino, he had been introduced to Marcello Sacchetti who in turn introduced him to another of his early patrons, Cardinal Francesco Barberini. However, their return from Spain in 1626 stabilized Poussin’s position, with renewed patronage by the Barberini and their circle. He fell ill at this time and was taken into the house of his compatriot Jacques Dughet, where he was nursed by Dughet’s daughter, Anna Maria and his two brothers-in-law were artists and Gaspard Dughet later took Poussin’s surname. During the late 1620s and 1630s, he experimented and formulated his own style and he studied the Antique as well as works such as Titian’s Bacchanals at the Casino Ludovisi and the paintings of Domenichino and Guido Reni. Peter’s, and an ingenious architectural imagination was emerging in works by Borromini, at the time the papacy was Rome’s foremost patron of the arts. Poussin’s Martyrdom of St. Erasmus for St and his subsequent career depended on private patronage. Louis XIII conferred on him the title of First Painter in Ordinary, in 1642, disgusted by the intrigues of Simon Vouet, Fouquières and the architect Jacques Lemercier, Poussin withdrew to Rome. There, in 1648, he finished for de Chantelou the second series of the Seven Sacraments and this painting shows the philosopher discarding his last worldly possession, his cup, after watching a man drink water by cupping his hands
22.
The Gleaners
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The Gleaners is an oil painting by Jean-François Millet completed in 1857. It depicts three peasant women gleaning a field of stray grains of wheat after the harvest, the painting is famous for featuring in a sympathetic way what were then the lowest ranks of rural society, this was received poorly by the French upper classes. Millets The Gleaners was preceded by a painting of the image in 1854. Millet first unveiled The Gleaners at the Salon in 1857, having recently come out of the French Revolution of 1848, these prosperous classes saw the painting as glorifying the lower-class worker. To them, it was a reminder that French society was built upon the labor of the working masses, the depiction of the working class in The Gleaners made the upper classes feel uneasy about their status. The masses of workers drastically outnumbered the members of the upper class, the drastic differences in numbers meant that if the lower class was to revolt the upper class would be overturned. With the French Revolution still fresh on the upper class minds, Millets The Gleaners was also not perceived well due to its enormous size. The size of the painting is 33 inches by 44 inches or 2.75 feet by 3.7 feet and this is huge for a painting depicting labor. Normally this size of a canvas was reserved for religious or mythological style paintings, Millets work did not depict anything religiously affiliated, nor was there any reference to any mythological beliefs. The painting illustrated a view of poverty and the working class. One critic commented that his three gleaners have gigantic pretensions, they pose as the Three Fates of Poverty…their ugliness and their grossness unrelieved, while The Gleaners garnered little but notoriety during his life, after his death in 1875, public appreciation of his work steadily broadened. In 1889, the painting, then owned by banker Ferdinand Bischoffsheim, the buyer remained anonymous, but rumours were that the painting was coveted by an American buyer. At Madame Pommerys death in 1891, and following the conditions of her will and it now resides in the Musée dOrsay in Paris. The Gleaners is one of Millets best known works and its imagery of bending peasant women gleaning was paraphrased frequently in works by younger artists such as Pissarro, Renoir, Seurat, and van Gogh. Art historian Robert Rosenblum says Millets painting introduced imposing new presences in the repertory of art, with endless progeny in city. Daumiers and Degass laundresses, and even more so Caillebottes floor-scrapers, are almost unthinkable without Millets epic hymn to labor, the Gleaners provides evidence of Millets role as a contemporary social critic. Millets representation of class strife on a farm was thus uniquely modern in the 1850s. The painting inspired the name of the Gleaner Manufacturing Company, the painting inspired, and is discussed in, the film by Agnes Varda, The Gleaners and I
23.
Gleaning
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On one of the two occasions that this is stated in Leviticus, it adds that in vineyards, some grapes should be left ungathered, a statement also found in Deuteronomy. These verses additionally command that olive trees should not be beaten on multiple occasions, according to Leviticus, these things should be left for the poor and for strangers, and Deuteronomy commands that it should be left for widows, strangers, and paternal orphans. The Book of Ruth tells of gleaning by the widow Ruth to provide for herself and her mother-in-law, Naomi, jesus and his disciples practiced a form of gleaning as they walked through grain fields breaking off heads of wheat to eat. In 18th century England, gleaning was a right for cottagers. In a small village the sexton would often ring a bell at eight oclock in the morning and again at seven in the evening to tell the gleaners when to begin. This legal right effectively ended after the Steel v Houghton decision in 1788, the Shulchan Aruch argues that Jewish farmers are no longer obliged to obey the biblical rule. Nevertheless, in modern Israel, rabbis of Orthodox Judaism insist that Jews allow gleanings to be consumed by the poor and by strangers, during Sabbatical years. There are a number of organizations that practice gleaning to resolve issues of societal hunger, Gleaning was a popular subject in art, especially in the nineteenth century. Vincent van Goghs sketch of a Peasant Woman Gleaning in Nuenen, Andrew How to glean from abandoned fruit trees Goglean. org Senior Gleaners Inc. Gleaning Stories Stories of Gleaning and Gleaners Volunteer Gleaning foodshuttle. org
24.
The Angelus (painting)
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The Angelus is an oil painting by French painter Jean-François Millet, completed in 1859. Millet was commissioned by the American would-be painter and art collector Thomas Gold Appleton, the painting is famous today for driving the prices for artworks of the Barbizon school up to record amounts in the late 19th century. Completed between 1857 and 1859, it is an oil painting on canvas, when Appleton failed to take possession, Millet added a steeple and changed the initial title of the work, Prayer for the Potato Crop to The Angelus. It depicts two peasants during the potato harvest in Barbizon, with a view of the tower of Chailly-en-Bière. At their feet is a basket of potatoes, and around them a cart. Various interpretations of the relationship between the two peasants have been made, such as colleagues at work, husband and wife pair, or farmer, an 1889 sales catalogue described them simply as a young peasant and his companion. Millet sold The Angelus after his The Gleaners was sold at the Salon in 1857, about half the size, it brought him less than half the amount he sold The Gleaners for. The Angelus was eventually shown the year before Millets death in Brussels in 1874, although this was an unpopular view, at his insistence the Louvre X-rayed the painting, showing a small painted-over geometric shape strikingly similar to a coffin by the basket. At first, the painting was interpreted as a political statement, in 1864 Belgian minister Jules Van Praët exchanged it for Millet’s Bergère avec son troupeau and commented dryly, “What can I say. The painting triggered a rush of patriotic fervour when the Louvre tried to buy it in 1889, and was vandalized by a madman in 1932. Dofœr, for 168,000 fr. with fees, Secrétan sale,1 July 1889, galerie Sedelmeyer, the imagery of The Angelus with peasants praying was a popular sentimental 19th-century religious subject. Generations later, Salvador Dalí had seen a reproduction of it on the wall of his childhood school and he felt the basket looked like the coffin of a child and the woman looked like a praying mantis. He was inspired to create his paranoiac-critical paintings The Architectural Angelus of Millet and Gala, in 1938, he published a book Le Mythe tragique de lAngélus de Millet. 1859 in art LAngelus on Smarthistory
25.
Art collector
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A private collection is a privately owned collection of works, usually a collection of art. This source will usually be an art collector, although it could be a school, church organization, bank or other company, collectors of books, even if they collect for aesthetic reasons, are called bibliophiles, and their collections are referred to as libraries. The Royal collections of most countries were originally the grandest of private collections but are now mostly in public ownership, however the British Royal Collection remains under the care of the Crown, though distinguished from the private property of the British Royal Family. The cabinet of curiosities was an important mixed form of collection, including art and these were formed by royalty but smaller ones also by merchants and scholars. The tastes and habits of collectors have played an important part in determining what art was produced. Many types of objects, such as medals, engravings, small plaquettes, modern engraved gems, increasingly collectors tended to specialize in one or two types of work, although some, like George Salting, still had a very wide scope for their collections. The extension of serious collecting to art from all periods and places was an essentially 19th-century development, trecento paintings were little appreciated until about the 1830s, and Chinese ritual bronzes and jades until perhaps the 1920s. Collecting of African art was rare until after World War II, very famous collections that are now dispersed include the Borghese Collection and Farnese collection in Rome, and the Orleans Collection in Paris, mostly sold in London. When this happens, it can be a loss to those interested in art as the initial vision of the collector is lost. The works were displayed in the Liechtenstein Museum after nearly 60 years with most in storage. The important collection of the Thyssen family, mostly kept in the Thyssen-Bornemisza Museum, only an exhibited part, the collection of Carmen Cervera, widow of the late Baron Thyssen, remains private but exhibited separately in the museum. Many collections were left to the public in some form, and are now museums, most museums are formed around one or more formerly private collection acquired as a whole. Other collections remain complete but are merged into larger collections in museums, many other bequests or purchased collections are split up within the museums collection. Sergei Shchukin, was an important Russian art collector, mainly of French Impressionist and Post-Impressionist art and his collection is now divided between the Pushkin Museum of Fine Arts in Moscow and the State Hermitage Museum in St. Petersburg. The Charles Lang Freer Collection became an important part of The Smithsonian—the Freer Gallery of Art, when the banker Robert Lehman died in 1969, his foundation donated 2,600 works of art to the Metropolitan Museum of Art in New York. Housed in the Robert Lehman Wing, the museum refers to the collection as one of the most extraordinary private art collections ever assembled in the United States. Unlike other departments at the Met, the Robert Lehman collection does not concentrate on a style or period of art, rather. Media related to Private collections at Wikimedia Commons
26.
Boston
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Boston is the capital and most populous city of the Commonwealth of Massachusetts in the United States. Boston is also the seat of Suffolk County, although the county government was disbanded on July 1,1999. The city proper covers 48 square miles with a population of 667,137 in 2015, making it the largest city in New England. Alternately, as a Combined Statistical Area, this wider commuting region is home to some 8.1 million people, One of the oldest cities in the United States, Boston was founded on the Shawmut Peninsula in 1630 by Puritan settlers from England. It was the scene of several key events of the American Revolution, such as the Boston Massacre, the Boston Tea Party, the Battle of Bunker Hill, and the Siege of Boston. Upon U. S. independence from Great Britain, it continued to be an important port and manufacturing hub as well as a center for education, through land reclamation and municipal annexation, Boston has expanded beyond the original peninsula. Its rich history attracts many tourists, with Faneuil Hall alone drawing over 20 million visitors per year, Bostons many firsts include the United States first public school, Boston Latin School, first subway system, the Tremont Street Subway, and first public park, Boston Common. Bostons economic base also includes finance, professional and business services, biotechnology, information technology, the city has one of the highest costs of living in the United States as it has undergone gentrification, though it remains high on world livability rankings. Bostons early European settlers had first called the area Trimountaine but later renamed it Boston after Boston, Lincolnshire, England, the renaming on September 7,1630 was by Puritan colonists from England who had moved over from Charlestown earlier that year in quest of fresh water. Their settlement was limited to the Shawmut Peninsula, at that time surrounded by the Massachusetts Bay and Charles River. The peninsula is thought to have been inhabited as early as 5000 BC, in 1629, the Massachusetts Bay Colonys first governor John Winthrop led the signing of the Cambridge Agreement, a key founding document of the city. Puritan ethics and their focus on education influenced its early history, over the next 130 years, the city participated in four French and Indian Wars, until the British defeated the French and their Indian allies in North America. Boston was the largest town in British America until Philadelphia grew larger in the mid-18th century, Bostons harbor activity was significantly curtailed by the Embargo Act of 1807 and the War of 1812. Foreign trade returned after these hostilities, but Bostons merchants had found alternatives for their investments in the interim. Manufacturing became an important component of the economy, and the citys industrial manufacturing overtook international trade in economic importance by the mid-19th century. Boston remained one of the nations largest manufacturing centers until the early 20th century, a network of small rivers bordering the city and connecting it to the surrounding region facilitated shipment of goods and led to a proliferation of mills and factories. Later, a network of railroads furthered the regions industry. Boston was a port of the Atlantic triangular slave trade in the New England colonies
27.
Droit de suite
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Droit de suite is a right granted to artists or their heirs, in some jurisdictions, to receive a fee on the resale of their works of art. This should be contrasted with such as the American first-sale doctrine, where artists do not have the right to control or profit from subsequent sales. ”According to Renaud Donnedieu de Vabres, droit de suite was created in France following the sale of Millets 1858 painting. The owner of the made a huge profit from this sale. Many artists, and their families, had suffered from the war, the 2001/84/EC directive mandates a somewhat uniform system of droit de suite across the European Union. This directive is controversial in the United Kingdom, in France, this system is in force through article L122-8 of the Code of intellectual property. It will be reformed by article 48 of the DADVSI law, following DADVSI, a government regulation is to set degressive rates and maximal fees so that the Paris marketplace is not hindered. The ruling by Judge Jacqueline H. Nguyen of U. S. District Court Judge, Judge Nguyen added, The Court finds that the CRRA explicitly regulates applicable sales of fine art occurring wholly outside California. Under its clear terms, the CRRA regulates transactions occurring anywhere in the United States, even the artist---the intended beneficiary of the CRRA---does not have to be a citizen of, or reside in, California. Therefore, the CRRA violates the Commerce Clause of the United States Constitution. California’s droit de suite statute, the California Resale Royalty Act, was enacted in 1976, the law applied to all works of fine art resold in California, or resold anywhere by a California resident, for a gross sale of $1000 or more. It had mandated a five percent royalty on the price of any work of fine art. An artist was able to waive this right “by a contract in writing providing for an amount in excess of five percent of the amount of such sale. ”At least one scholar has proposed that this law is unconstitutional in that it effects a Fifth Amendment taking of private property. Copyright Office published a Notice of Inquiry regarding establishing an artist resale royalty right in the US, the Notice was published in response to a request by Representative Jerrold Nadler and Senator Herb Kohl, who had introduced droit de suite legislation in 2011. A follow-up bill was introduced in 2014, the American Royalties Too Act, australia The Resale Royalty Right for Visual Artists Act 2009 gives the creator of an artwork the right to receive a royalty when their work is resold on the commercial art market. For artworks already in existence at 9 June 2010, the royalty applies only to the second, the royalty is calculated as 5% of the sale price, but does not apply where that price is less than $1,000. The primary legal obligation to pay the royalty rests on the seller, however, in economic terms, it may effectively be passed on to the purchaser. The introduction of the scheme was controversial, as it has been elsewhere, during the first three years of its operation, royalty payments totaling $1. 5m were made to about 650 artists for 6,800 transactions, with about 50% going to Indigenous artists. The highest individual royalty was A$50,000, most recipients have received amounts ranging from A$50 to A$500. The average transaction cost is reportedly $30 AU, a review of the scheme was announced in June 2013
28.
Philadelphia Museum of Art
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The Philadelphia Museum of Art is an art museum originally chartered in 1876 for the Centennial Exposition in Philadelphia. The main museum building was completed in 1928 on Fairmount, a located at the northwest end of the Benjamin Franklin Parkway at Eakins Oval. The museum administers collections containing over 240,000 objects including major holdings of European, American and Asian origin, the various classes of artwork include sculpture, paintings, prints, drawings, photographs, armor and decorative arts. The attendance figure for the museum was 751,797 in 2015, the museum is also one of the largest art museums in the world based on gallery space. The museum also administers the historic houses of Mount Pleasant and Cedar Grove. The museum and its annexes are owned by the City of Philadelphia, as of 2017, the standard adult admission price is $20 which allows entrance to the main building and all annexes for two consecutive days. The museum is closed on Mondays except on some holidays, several special exhibitions are held in the museum every year, including touring exhibitions arranged with other museums in the United States and abroad. Special exhibitions may have a charge for entrance. Philadelphia celebrated the 100th anniversary of the Declaration of Independence with the 1876 Centennial Exposition and its art building, Memorial Hall, was intended to outlast the Exhibition and house a permanent museum. The Pennsylvania Museum and School of Industrial Art opened on May 10,1877 and its permanent collection began with objects from the Exhibition and gifts from the public impressed with the Exhibitions ideals of good design and craftsmanship. European and Japanese fine and decorative art objects and books for the Museums library were among the first donations, the location outside of Center City, however, was fairly distant from many of the citys inhabitants. Admission was charged until 1881, then was dropped until 1962, starting in 1882, Clara Jessup Moore donated a remarkable collection of antique furniture, enamels, carved ivory, jewelry, metalwork, glass, ceramics, books, textiles and paintings. The Countess de Brazzas lace collection was acquired in 1894 forming the nucleus of the lace collection, in 1893 Anna H. Wilstach bequeathed a large painting collection, including many American paintings, and an endowment of half a million dollars for additional purchases. Works by James Abbott McNeill Whistler and George Inness were purchased within a few years, in the early 1900s, the Museum started an education program for the general public, as well as a membership program. Fiske Kimball was the director during the rapid growth of the 1920s. After World War II the collections grew with gifts, such as the John D. McIlhenny, early modern art dominated the growth of the collections in the 1950s, with acquisitions of the Louise and Walter Arensberg and the A. E. Gallatin collections. The gift of Philadelphian Grace Kellys wedding dress is perhaps the best known gift of the 1950s, extensive renovation of the building lasted from the 1960s through 1976. Major acquisitions included the Carroll S. Tyson, Jr. and Samuel S. White III and Vera White collections,71 objects from designer Elsa Schiaparelli, in 1976 there were celebrations and special exhibitions for the centennial of the Museum and the bicentennial of the nation
29.
Exposition Universelle (1867)
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The International Exposition of 1867, was the second worlds fair to be held in Paris, from 1 April to 3 November 1867. Forty two nations were represented at the fair, following a decree of Emperor Napoleon III, the exposition was prepared as early as 1864, in the midst of the renovation of Paris, marking the culmination of the Second French Empire. In 1864, Napoleon III decreed that an international exposition should be held in Paris in 1867, a commission was appointed with Prince Jerome Napoleon as president, under whose direction the preliminary work began. In addition to the building, there were nearly 100 smaller buildings on the grounds. There were 50,226 exhibitors, of whom 15,055 were from France and her colonies,6176 from Great Britain and Ireland,703 from the United States and a small contingent from Canada. In the gallery of Labour History Jacques Boucher de Perthes, exposes one of the first prehistoric tools whose authenticity has been recognized with the accuracy of these theories. The exhibition also included two prototypes of the acclaimed and prize-winning hydrochronometer invented in 1867 by Gian Battista Embriaco. Farcot and sculptor Albert-Ernest Carrier-Be Belleuse, farcot exhibited several units, one of them it is currently in the Roosevelt Hotel in New Orleans. Its base, which features the face and inner mechanical movements, is carved from solid onyx marble. Atop the base, a sculpture depicting a robed female figure holds a scepter. Rotating soundlessly from the subjects hand, the scepter provides consistent motion that adds to the clocks sense of grandeur. From its base to the top of the figure stands at nearly 10 feet tall. Carrier de Belleuse was one of the most important and renowned sculptors of the 19th century, the exposition was formally opened on 1 April and closed on 31 October 1867, and was visited by 9,238,967 persons, including exhibitors and employees. This exposition was the greatest up to its time of all international expositions, for the first time Japan presented art pieces to the world in a national pavilion, especially pieces from the Satsuma and Saga clans in Kyushu. The Paris street near Champs de Mars, Rue de LExposition was named in hommage to this 1867 universal exhibition. Jules Verne visited the exhibition in 1867, his take on the newly publicized discovery of electricity inspiring him heavily in his writing of 20,000 Leagues Under the Sea. A famous revival of the ballet Le Corsaire was staged by the Ballet Master Joseph Mazilier in honor of the exhibition at the Théâtre Impérial de l´Opéra on 21 October 1867. The World Rowing Championships were held on the Seine River in July and was won by the underdog Canadian team from Saint John, rejtan This article incorporates text from a publication now in the public domain, Gilman, D. C
30.
Legion of Honour
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The Legion of Honour, full name National Order of the Legion of Honour, is the highest French order of merit for military and civil merits, established 1802 by Napoléon Bonaparte. The order is divided into five degrees of increasing distinction, Chevalier, Officier, Commandeur, Grand Officier and Grand-Croix. The orders motto is Honneur et Patrie and its seat is the Palais de la Légion dHonneur next to the Musée dOrsay, in the French Revolution, all French orders of chivalry were abolished, and replaced with Weapons of Honour. The Légion however did use the organization of old French orders of chivalry, the badges of the legion also bear a resemblance to the Ordre de Saint-Louis, which also used a red ribbon. Napoleon originally created this to ensure political loyalty, the organization would be used as a facade to give political favours, gifts, and concessions. The Légion was loosely patterned after a Roman legion, with legionaries, officers, commanders, regional cohorts, the highest rank was not a grand cross but a Grand Aigle, a rank that wore all the insignia common to grand crosses. The members were paid, the highest of them extremely generously,5,000 francs to an officier,2,000 francs to a commandeur,1,000 francs to an officier,250 francs to a légionnaire. Napoleon famously declared, You call these baubles, well, it is with baubles that men are led, do you think that you would be able to make men fight by reasoning. That is good only for the scholar in his study, the soldier needs glory, distinctions, rewards. This has been quoted as It is with such baubles that men are led. The order was the first modern order of merit, under the monarchy, such orders were often limited to Roman Catholics, and all knights had to be noblemen. The military decorations were the perks of the officers, the Légion, however, was open to men of all ranks and professions—only merit or bravery counted. The new legionnaire had to be sworn in the Légion and it is noteworthy that all previous orders were crosses or shared a clear Christian background, whereas the Légion is a secular institution. The jewel of the Légion has five arms, in a decree issued on the 10 Pluviôse XIII, a grand decoration was instituted. This decoration, a cross on a sash and a silver star with an eagle, symbol of the Napoleonic Empire, became known as the Grand Aigle. After Napoleon crowned himself Emperor of the French in 1804 and established the Napoleonic nobility in 1808, the title was made hereditary after three generations of grantees. Napoleon had dispensed 15 golden collars of the legion among his family and this collar was abolished in 1815. The Légion dhonneur was prominent and visible in the French Empire, the Emperor always wore it and the fashion of the time allowed for decorations to be worn most of the time
31.
The Potato Harvest
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The Potato Harvest is a painting by the French artist Jean-François Millet. Jean-François Millet was raised in the area of France known as the old province of Normandy and he was brought up with hard out-of-door labor. After studying to become a painter, he devoted his art to illustrating peasants farming the land and his subjects were often taken from his surroundings or from memories from his youth. During the 1850s, Millet began incorporating his subjects into landscapes, the Potato Harvest is one of nine works which drew international acclaim at the Exposition Universelle in 1867. The Potato Harvest depicts peasants working in the plains between Barbizon and Chailly and it presents a theme representative of the peasants struggle for survival. Millets technique for this work incorporated paste-like pigments thickly applied over a coarsely textured canvas, currently, The Potato Harvest is being featured in Off the Wall, an open-air exhibition on the streets of Baltimore, Maryland. A reproduction of the painting, the original is part of The Walters Art Museum collection, the National Gallery in London began the concept of bringing art out of doors in 2007 and the Detroit Institute of Art introduced the concept in the U. S. The Off the Wall reproductions of the Walters paintings are done on weather-resistant vinyl and include a description of the painting and a QR code for smart phones
32.
Vincent van Gogh
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Vincent Willem van Gogh was a Dutch Post-Impressionist painter who is among the most famous and influential figures in the history of Western art. In just over a decade he created about 2,100 artworks, including around 860 oil paintings and his suicide at 37 followed years of mental illness and poverty. Born into a family, Van Gogh drew as a child and was serious, quiet. As a young man he worked as an art dealer, often travelling and he turned to religion, and spent time as a Protestant missionary in southern Belgium. He drifted in ill health and solitude before taking up painting in 1881 and his younger brother Theo supported him financially, and the two kept up a long correspondence by letter. His early works, mostly still lifes and depictions of peasant labourers, in 1886 he moved to Paris, where he met members of the avant-garde, including Émile Bernard and Paul Gauguin, who were reacting against the Impressionist sensibility. As his work developed he created a new approach to still lifes and his paintings grew brighter in colour as he developed a style that became fully realised during his stay in Arles in the south of France in 1888. During this period he broadened his subject matter to include trees, cypresses, wheat fields. Van Gogh suffered from episodes and delusions and though he worried about his mental stability, he often neglected his physical health, did not eat properly. His friendship with Gauguin ended after a confrontation with a razor and he spent time in psychiatric hospitals, including a period at Saint-Rémy. After he discharged himself and moved to the Auberge Ravoux in Auvers-sur-Oise near Paris and his depression continued and on 27 July 1890, Van Gogh shot himself in the chest with a revolver. He died from his injuries two days later, Van Gogh was unsuccessful during his lifetime, and was considered a madman and a failure. He became famous after his suicide, and exists in the imagination as the quintessential misunderstood genius. His reputation began to grow in the early 20th century as elements of his style came to be incorporated by the Fauves. The most comprehensive source on Van Gogh is the correspondence between him and his younger brother, Theo. Their lifelong friendship, and most of what is known of Vincents thoughts, Theo van Gogh was an art dealer and provided his brother with financial and emotional support, and access to influential people on the contemporary art scene. Theo kept all of Vincents letters to him, Vincent kept few of the letters he received, after both had died, Theos widow Johanna arranged for the publication of some of their letters. A few appeared in 1906 and 1913, the majority were published in 1914, Vincents letters are eloquent and expressive and have been described as having a diary-like intimacy, and read in parts like autobiography
33.
Claude Monet
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Monets ambition of documenting the French countryside led him to adopt a method of painting the same scene many times in order to capture the changing of light and the passing of the seasons. From 1883 Monet lived in Giverny, where he purchased a house and property, Claude Monet was born on 14 November 1840 on the fifth floor of 45 rue Laffitte, in the 9th arrondissement of Paris. He was the son of Claude Adolphe Monet and Louise Justine Aubrée Monet. On 20 May 1841, he was baptized in the parish church, Notre-Dame-de-Lorette, as Oscar-Claude. Despite being baptized Catholic, Monet later became an atheist, in 1845, his family moved to Le Havre in Normandy. His father wanted him to go into the familys ship-chandling and grocery business and his mother was a singer, and supported Monets desire for a career in art. On 1 April 1851, Monet entered Le Havre secondary school of the arts, locals knew him well for his charcoal caricatures, which he would sell for ten to twenty francs. Monet also undertook his first drawing lessons from Jacques-François Ochard, a student of Jacques-Louis David. On the beaches of Normandy around 1856 he met fellow artist Eugène Boudin, Boudin taught Monet en plein air techniques for painting. Both received the influence of Johan Barthold Jongkind, on 28 January 1857, his mother died. At the age of sixteen, he left school and went to live with his widowed, childless aunt, when Monet traveled to Paris to visit the Louvre, he witnessed painters copying from the old masters. Having brought his paints and other tools with him, he would go and sit by a window. Monet was in Paris for several years and met other painters, including Édouard Manet and others who would become friends. After drawing a low number in March 1861, Monet was drafted into the First Regiment of African Light Cavalry in Algeria for a seven-year period of military service. His prosperous father could have purchased Monets exemption from conscription but declined to do so when his son refused to give up painting. While in Algeria Monet did only a few sketches of scenes, a single landscape. In a Le Temps interview of 1900 however he commented that the light, after about a year of garrison duty in Algiers, Monet contracted typhoid fever and briefly went absent without leave. Following convalescence, Monets aunt intervened to get him out of the army if he agreed to complete a course at an art school and it is possible that the Dutch painter Johan Barthold Jongkind, whom Monet knew, may have prompted his aunt on this matter
34.
Georges Seurat
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Georges-Pierre Seurat was a French post-Impressionist painter and draftsman. He is noted for his use of drawing media and for devising the painting techniques known as chromoluminarism and pointillism. His large-scale work, A Sunday Afternoon on the Island of La Grande Jatte, altered the direction of art by initiating Neo-impressionism. Seurat was born 2 December 1859 in Paris, at 60 rue de Bondy, the Seurat family moved to 136 boulevard de Magenta in 1862 or 1863. His father, Antoine Chrysostome Seurat, originally from Champagne, was a legal official who had become wealthy from speculating in property. Georges had a brother, Émile Augustin, and a sister, Marie-Berthe and his father lived in Le Raincy and visited his wife and children once a week at boulevard de Magenta. Georges Seurat first studied art at the École Municipale de Sculpture et Dessin, near his familys home in the boulevard Magenta, Seurats studies resulted in a well-considered and fertile theory of contrasts, a theory to which all his work was thereafter subjected. His formal artistic education came to an end in November 1879, after a year at the Brest Military Academy, he returned to Paris where he shared a studio with his friend Aman-Jean, while also renting a small apartment at 16 rue de Chabrol. For the next two years, he worked at mastering the art of monochrome drawing and his first exhibited work, shown at the Salon, of 1883, was a Conté crayon drawing of Aman-Jean. He also studied the works of Eugène Delacroix carefully, making notes on his use of color and he spent 1883 working on his first major painting—a large canvas titled Bathers at Asnières, a monumental work showing young men relaxing by the Seine in a working-class suburb of Paris. Seurat also departed from the Impressionist ideal by preparing for the work with a number of drawings, Bathers at Asnières was rejected by the Paris Salon, and instead he showed it at the Groupe des Artistes Indépendants in May 1884. Seurats new ideas on pointillism were to have a strong influence on Signac. In the summer of 1884, Seurat began work on A Sunday Afternoon on the Island of La Grande Jatte, the painting shows members of each of the social classes participating in various park activities. The tiny juxtaposed dots of multi-colored paint allow the eye to blend colors optically. It took Seurat two years to complete this 10-foot-wide painting, much of which he spent in the park sketching in preparation for the work and it is now in the permanent collection of the Art Institute of Chicago. The painting was the inspiration for James Lapine and Stephen Sondheims musical, Seurat concealed his relationship with Madeleine Knobloch, an artists model whom he portrayed in his painting Jeune femme se poudrant. In 1889 she moved in with Seurat in his studio on the 7th floor of 128bis Boulevard de Clichy, when Madeleine became pregnant, the couple moved to a studio at 39 passage de lÉlysée-des-Beaux-Arts. There she gave birth to their son, who was named Pierre-Georges,16 February 1890, Seurat died in Paris in his parents home on 29 March 1891 at the age of 31
35.
Mark Twain
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Samuel Langhorne Clemens, better known by his pen name Mark Twain, was an American writer, humorist, entrepreneur, publisher, and lecturer. Among his novels are The Adventures of Tom Sawyer and its sequel, Adventures of Huckleberry Finn, Twain was raised in Hannibal, Missouri, which later provided the setting for Tom Sawyer and Huckleberry Finn. He served an apprenticeship with a printer and then worked as a typesetter and he later became a riverboat pilot on the Mississippi River before heading west to join Orion in Nevada. He referred humorously to his lack of success at mining, turning to journalism for the Virginia City Territorial Enterprise, the short story brought international attention and was even translated into classic Greek. His wit and satire, in prose and in speech, earned praise from critics and peers, and he was a friend to presidents, artists, industrialists, and European royalty. He filed for bankruptcy in the wake of financial setbacks. He chose to pay all his creditors in full, even though he had no legal responsibility to do so. Twain was born shortly after an appearance of Halleys Comet, and he predicted that he would go out with it as well and he was lauded as the greatest American humorist of his age, and William Faulkner called him the father of American literature. His parents met when his father moved to Missouri, and they were married in 1823, Twain was of Cornish, English, and Scots-Irish descent. Only three of his siblings survived childhood, Orion, Henry, and Pamela and his sister Margaret died when Twain was three, and his brother Benjamin died three years later. His brother Pleasant died at six months of age, slavery was legal in Missouri at the time, and it became a theme in these writings. His father was an attorney and judge, but he died of pneumonia in 1847, the next year, Twain left school after the fifth grade to become a printers apprentice. In 1851, he working as a typesetter, contributing articles and humorous sketches to the Hannibal Journal. He educated himself in libraries in the evenings, finding wider information than at a conventional school. Twain describes his boyhood in Life on the Mississippi, stating there was but one permanent ambition among his comrades. Pilot was the grandest position of all, the pilot, even in those days of trivial wages, had a princely salary – from a hundred and fifty to two hundred and fifty dollars a month, and no board to pay. As Twain describes it, the pilots prestige exceeded that of the captain, bixby took Twain on as a cub pilot to teach him the river between New Orleans and St. Louis for $500, payable out of Twains first wages after graduating. It was more than two years before he received his pilots license, piloting gave also him his pen name from mark twain, the leadsmans cry for a measured river depth of two fathoms, which was safe water for a steamboat
36.
The Man with the Hoe
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Google Art Project. jpg|thumb|right|Bowed by the weight of centuries he leans Upon his hoe and gazes on the ground, The emptiness of ages in his face, And on his back the burden of the world. ]]The Man with the Hoe is a poem by the American poet Edwin Markham, inspired by Jean-François Millets painting Lhomme à la houe. The poem was first presented as a poetry reading at a New Years Eve party in 1898. It portrays the labor of much of humanity using the symbolism of a laborer leaning upon his hoe, burdened by his work and it has been called the battle-cry of the next thousand years and translated into 37 languages, earning Markham about $250,000 over 33 years. The Man with the Hoe Bowed by the weight of centuries he leans Upon his hoe and gazes on the ground, The emptiness of ages in his face, who made him dead to rapture and despair, A thing that grieves not and that never hopes. Stolid and stunned, a brother to the ox, who loosened and let down this brutal jaw. Whose was the hand that slanted back this brow, whose breath blew out the light within this brain. Is this the Thing the Lord God made and gave To have dominion over sea and land, To trace the stars and search the heavens for power, is this the Dream He dreamed who shaped the suns And marked their ways upon the ancient deep. What gulfs between him and the seraphim, slave of the wheel of labor, what to him Are Plato and the swing of Pleiades. What the long reaches of the peaks of song, The rift of dawn, a protest that is also a prophecy. O masters, lords and rulers in all lands, Is this the handiwork you give to God, O masters, lords and rulers in all lands How will the Future reckon with this Man. How answer his question in that hour When whirlwinds of rebellion shake all shores. How will it be with kingdoms and with kings — With those who shaped him to the thing he is — When this dumb Terror shall rise to judge the world, after the silence of the centuries
37.
Edwin Markham
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Edwin Markham was an American poet. From 1923 to 1931 he was Poet Laureate of Oregon, Edwin Markham was born in Oregon City, Oregon, and was the youngest of 10 children, his parents divorced shortly after his birth. At the age of four, he moved to Lagoon Valley and he worked on the familys farm beginning at twelve. Although his mother was opposed to his higher education, he studied literature at the California College in Vacaville, California. In 1872 he graduated from San Jose State Normal School and in 1873 finished his studies of classics at Christian College in Santa Rosa and he went by Charles until about 1895, when he was about 43, when he started using Edwin. In 1898, Markham married his wife, Anna Catherine Murphy. They moved to Rio de Janeiro in 1900 to study natives and their appeasement, then to New York City, Edwin Markham had, by the time of his death, amassed a huge library of 15000+ books. This collection was bequeathed to Wagner Colleges Horrmann Library, located on Staten Island, Markham also willed his personal papers to the library. Edwins correspondents included Franklin D. Roosevelt, Ambrose Bierce, Aleister Crowley, Jack and Charmian London, Carl Sandburg, Florence Earle Coates, Markham taught literature in El Dorado County until 1879, when he became education superintendent of the county. While residing in El Dorado County, Markham became a member of Placerville Masonic Lodge and he also accepted a job as principal of Tompkins Observation School in Oakland, California, in 1890. While in Oakland, he became acquainted with many other famous contemporary writers and poets, such as Joaquin Miller, Ina Coolbrith, Charles Warren Stoddard. Edwin Markhams most famous poem, The Man with the Hoe and his main inspiration was a French painting of the same name by Jean-François Millet. Markhams poem was published, and it quite popular very soon. In New York, he gave lectures to labor groups. These happened as often as his poetry readings, in 1922, Markhams poem Lincoln, the Man of the People was selected from 250 entries to be read at the dedication of the Lincoln Memorial. The author himself read the poem, of it, Dr. Henry Van Dyke of Princeton said, Edwin Markhams Lincoln is the greatest poem ever written on the immortal martyr, and the greatest that ever will be written. Later that year, Markham was filmed reciting the poem by Lee De Forest in his Phonofilm sound-on-film process, as recounted by literary biographer William R. Nash, etween publications, Markham lectured and wrote in other genres, including essays and nonfiction prose. He also gave much of his time to such as the Poetry Society of America
38.
Angelus
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The Angelus is a Catholic devotion commemorating the Incarnation. The Angelus exemplifies a species of prayers called the prayer of the devotee, the devotion was traditionally recited in Roman Catholic churches, convents, and monasteries three times daily,6,00 am, noon, and 6,00 pm. The devotion is also used by some Anglican and Lutheran churches, the Angelus is usually accompanied by the ringing of the Angelus bell, which is a call to prayer and to spread good-will to everyone. The angel referred to in the prayer is Gabriel, a messenger of God who revealed to Mary that she would conceive a child to be born the Son of God and this is an old devotion that was already well established 700 years ago. The Angelus originated with the 11th-century monastic custom of reciting three Hail Marys during the evening, or Compline, bell, the first written documentation stems from Italian Franciscan monk Sinigardi di Arezzo. Franciscan monasteries in Italy document the use in 1263 and 1295, the current form of the Angelus prayer is included in a Venetian Catechism from 1560. The older usages seem to have commemorated the resurrection of Christ in the morning, his suffering at noon, in 1269, St Bonaventure urged the faithful to adopt the custom of the Franciscans of saying three Hail Marys as the Compline bell was rung. The Angelus is not identical to the Noon Bell ordered by Pope Calixtus III in 1456 and he again asks the faithful throughout the World, to pray for the persecuted Church in the East during the mid-day Angelus. The custom of reciting it in the morning apparently grew from the custom of saying three Hail Marys while a bell rang at Prime. The noon time custom apparently arose from the noon time commemoration of the Passion on Fridays, the institution of the Angelus is by some ascribed to Pope Urban II, by some to Pope John XXII for the year 1317. The triple recitation is ascribed to Louis XI of France, who in 1472 ordered it to be recited three times daily, the form of the prayer was standardized by the 17th century. The manner of ringing the Angelus—the triple stroke repeated three times, with a pause between each set of three, sometimes followed by a peal as at curfew—seems to have been long established. The 15th-century constitutions of Syon monastery dictate that the lay brother shall toll the Ave bell nine strokes at three times, keeping the space of one Pater and Ave between each three tollings. The pattern of ringing on Irish radio and television consists of three groups of three peals, each separated by a pause, followed by a group of nine peals. It is common practice that during the recital of the Angelus prayer, for the lines And the Word was made flesh/And dwelt among us, either of these actions draws attention to the moment of the Incarnation of Christ into human flesh. During Paschaltide, the Marian antiphon Regina Cœli with versicle and prayer, in most Franciscan and contemplative monasteries, the Angelus continues to be prayed three times a day. In Germany, particular dioceses and their radio stations ring the Angelus, in addition, Roman Catholic churches ring the Angelus bell thrice daily. Although this decision was reversed and the Angelus is still played twice a day
39.
Princeton University Art Museum
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The Princeton University Art Museum is the Princeton Universitys gallery of art, located in Princeton, New Jersey. Founded in 1882, it now houses over 92,000 works of art that range from antiquity to the contemporary period and its collections concentrate on the Mediterranean region, Western Europe, China, the United States, and Latin America. The Museum has a collection of Greek and Roman antiquities, including ceramics, marbles, bronzes. Medieval Europe is represented by sculpture, metalwork, and stained glass, the collection of Western European paintings includes examples from the early Renaissance through the nineteenth century, and there is a growing collection of twentieth-century and contemporary art. Photographic holdings are a strength, numbering over 27,000 works from the invention of daguerreotype in 1839 to the present. The Museum is also noted for its Asian art gallery, which includes a collection of Chinese calligraphy, painting, ancient bronze works, jade carvings. In addition to its collections, the Museum mounts regular temporary exhibitions featuring works from its own holdings as well as made from public. Admission is free and the Museum is open Tuesday, Wednesday, Friday, and Saturday,10,00 am to 5,00 pm, Thursday,10,00 am to 10,00 pm, and Sunday 1,00 to 5,00 pm. The portrait was a donation from Belcher himself, given shortly before the College moved in 1756 to the newly built Nassau Hall and it was joined by a portrait of King George II, who had issued the letters patent establishing the College. The two portraits hung in the prayer hall, and were displayed alongside various antiquities and objects of natural history. The creation of the Art Museum in a formal sense took place under the leadership of James McCosh. The Scottish McCosh brought with him from Europe new progressive academic disciplines, by 1882, McCosh charged William Cowper Prime, a Princeton alumnus and founding trustee of the Metropolitan Museum of Art, and George B. McClellan, the Civil War general and then Governor of New Jersey and they argued, The foundation of any system of education in Historic Art must obviously be in object study. A museum of art objects is so necessary to the system that without it we are of opinion it would be of utility to introduce the proposed department. ”The intention was to go beyond the fields of art and classics to include, “many other branches of the collegiate course. ”They anticipated, “large future growth, ” as the College could “look with confidence to her sons, in all parts of the world. The collections of the Museum were initially held in Nassau Hall, along with the natural history collection of professor Arnold Henry Guyot. A new purpose-built fireproof Romanesque Revival Museum was designed by A, page Brown and completed in 1890 on the site of the current museum. On completion of the building the Museum received the Trumball-Prime collection of pottery and porcelain from William Prime, early additions included the purchase of a large collection of Cypriot pottery from the Metropolitan Museum in 1890, and purchases of Etruscan, Roman, and South Italian pottery. Marquand established an endowment from his own resources to further purchases
40.
Shepherdess Seated on a Rock
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Shepherdess Seated on a Rock or The Knitter or Shepherdess Knitting is an 1856 oil on wood painting by Jean-François Millet, who was a leader of the Barbizon school, which emphasized realism. Millet is noted for his scenes of peasant farmers, and for reinvogorating the genre of landscape painting, the shepherdess in this painting is wearing the linen hood and white cloak that were typical of the peasant women in communities of north-central France such as Barbizon. This painting at the Metropolitan Museum of Art is virtually identical to another at the Cincinnati Art Museum. The reason for this duplication is that Millet was painting the first one when he received an offer for it and this was the only time that Millet ever duplicated one of his paintings. There are many similar paintings by Millet depicting a shepherdess who is knitting. Prior to painting these two duplicates, Millet composed a preparatory drawing, which is now located at the National Gallery of Scotland, according to that gallery, Millet’s paintings of shepherdesses were greatly admired, and inspired Vincent van Gogh to pay homage to Millet in his own work
41.
Nationalmuseum
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Nationalmuseum is the national gallery of Sweden, located on the peninsula Blasieholmen in central Stockholm. The museums benefactors include King Gustav III and Carl Gustaf Tessin, the museum also has an art library, open to the public and academics alike. The current building, built between 1844 and 1866, was inspired by North Italian Renaissance architecture and it is the design of the German architect Friedrich August Stüler, who also designed the Neues Museum in Berlin. The relatively closed exterior, save for the entrance, gives no hint of the spacious interior dominated by the huge flight of stairs leading up to the topmost galleries. The museum was enlarged in 1961 to accommodate the museum workshops, the present restaurant was instated in 1996. The museum building closed for renovation in 2013 and is scheduled to reopen in 2018, the Conspiracy of Claudius Civilis by Rembrandt Midvinterblot by Carl Larsson Vid bäcken by Peter Adolf Persson Hallwyl Palace Swedish Museum of National Antiquities Johan Mårtelius. Stockholm, Arkitektur Förlag AB. p.67
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Gillet, Louis (1913). "Jean-François Millet". Catholic Encyclopedia.
