1.
Rome
–
Rome is a special comune and the capital of Italy. Rome also serves as the capital of the Lazio region, with 2,873,598 residents in 1,285 km2, it is also the countrys largest and most populated comune and fourth-most populous city in the European Union by population within city limits. It is the center of the Metropolitan City of Rome, which has a population of 4.3 million residents, the city is located in the central-western portion of the Italian Peninsula, within Lazio, along the shores of the Tiber. Romes history spans more than 2,500 years, while Roman mythology dates the founding of Rome at only around 753 BC, the site has been inhabited for much longer, making it one of the oldest continuously occupied sites in Europe. The citys early population originated from a mix of Latins, Etruscans and it was first called The Eternal City by the Roman poet Tibullus in the 1st century BC, and the expression was also taken up by Ovid, Virgil, and Livy. Rome is also called the Caput Mundi, due to that, Rome became first one of the major centres of the Italian Renaissance, and then the birthplace of both the Baroque style and Neoclassicism. Famous artists, painters, sculptors and architects made Rome the centre of their activity, in 1871 Rome became the capital of the Kingdom of Italy, and in 1946 that of the Italian Republic. Rome has the status of a global city, Rome ranked in 2014 as the 14th-most-visited city in the world, 3rd most visited in the European Union, and the most popular tourist attraction in Italy. Its historic centre is listed by UNESCO as a World Heritage Site, monuments and museums such as the Vatican Museums and the Colosseum are among the worlds most visited tourist destinations with both locations receiving millions of tourists a year. Rome hosted the 1960 Summer Olympics and is the seat of United Nations Food, however, it is a possibility that the name Romulus was actually derived from Rome itself. As early as the 4th century, there have been alternate theories proposed on the origin of the name Roma. There is archaeological evidence of occupation of the Rome area from approximately 14,000 years ago. Evidence of stone tools, pottery and stone weapons attest to about 10,000 years of human presence, several excavations support the view that Rome grew from pastoral settlements on the Palatine Hill built above the area of the future Roman Forum. Between the end of the age and the beginning of the Iron age. However, none of them had yet an urban quality, nowadays, there is a wide consensus that the city was gradually born through the aggregation of several villages around the largest one, placed above the Palatine. All these happenings, which according to the excavations took place more or less around the mid of the 8th century BC. Despite recent excavations at the Palatine hill, the view that Rome has been indeed founded with an act of will as the legend suggests in the middle of the 8th century BC remains a fringe hypothesis. Traditional stories handed down by the ancient Romans themselves explain the earliest history of their city in terms of legend and myth
Rome
Rome
Rome
Rome
2.
Papal States
–
The Papal States, officially the State of the Church, were territories in the Italian Peninsula under the sovereign direct rule of the pope, from the 8th century until 1870. They were among the states of Italy from roughly the 8th century until the Italian Peninsula was unified in 1861 by the Kingdom of Piedmont-Sardinia. At their zenith, they covered most of the modern Italian regions of Lazio, Marche, Umbria and Romagna and these holdings were considered to be a manifestation of the temporal power of the pope, as opposed to his ecclesiastical primacy. By 1861, much of the Papal States territory had been conquered by the Kingdom of Italy, only Lazio, including Rome, remained under the Popes temporal control. In 1870, the pope lost Lazio and Rome and had no physical territory at all, Italian Fascist leader Benito Mussolini ended the crisis between unified Italy and the Vatican by signing the Lateran Treaty, granting the Vatican City State sovereignty. The Papal States were also known as the Papal State, the territories were also referred to variously as the State of the Church, the Pontifical States, the Ecclesiastical States, or the Roman States. For its first 300 years the Catholic Church was persecuted and unrecognized and this system began to change during the reign of the emperor Constantine I, who made Christianity legal within the Roman Empire, and restoring to it any properties that had been confiscated. The Lateran Palace was the first significant new donation to the Church, other donations followed, primarily in mainland Italy but also in the provinces of the Roman Empire. But the Church held all of these lands as a private landowner, the seeds of the Papal States as a sovereign political entity were planted in the 6th century. Beginning In 535, the Byzantine Empire, under emperor Justinian I, launched a reconquest of Italy that took decades and devastated Italys political, just as these wars wound down, the Lombards entered the peninsula from the north and conquered much of the countryside. While the popes remained Byzantine subjects, in practice the Duchy of Rome, nevertheless, the pope and the exarch still worked together to control the rising power of the Lombards in Italy. As Byzantine power weakened, though, the took a ever larger role in defending Rome from the Lombards. In practice, the papal efforts served to focus Lombard aggrandizement on the exarch, a climactic moment in the founding of the Papal States was the agreement over boundaries embodied in the Lombard king Liutprands Donation of Sutri to Pope Gregory II. When the Exarchate of Ravenna finally fell to the Lombards in 751, the popes renewed earlier attempts to secure the support of the Franks. In 751, Pope Zachary had Pepin the Younger crowned king in place of the powerless Merovingian figurehead king Childeric III, zacharys successor, Pope Stephen II, later granted Pepin the title Patrician of the Romans. Pepin led a Frankish army into Italy in 754 and 756, Pepin defeated the Lombards – taking control of northern Italy – and made a gift of the properties formerly constituting the Exarchate of Ravenna to the pope. The cooperation between the papacy and the Carolingian dynasty climaxed in 800, when Pope Leo III crowned Charlemagne Emperor, the precise nature of the relationship between the popes and emperors – and between the Papal States and the Empire – is disputed. Events in the 9th century postponed the conflict, the Holy Roman Empire in its Frankish form collapsed as it was subdivided among Charlemagnes grandchildren
Papal States
–
The
Quirinal Palace, papal residence and home to the civil offices of the Papal States from the
Renaissance until their annexation
Papal States
–
Flag in 1870
Papal States
–
Antichristus (1521) by
Lucas Cranach the Elder is a woodcut of the Papal States at war during the Renaissance.
Papal States
–
The Breach of Porta Pia, on the right, in 1870.
3.
London
–
London /ˈlʌndən/ is the capital and most populous city of England and the United Kingdom. Standing on the River Thames in the south east of the island of Great Britain and it was founded by the Romans, who named it Londinium. Londons ancient core, the City of London, largely retains its 1. 12-square-mile medieval boundaries. London is a global city in the arts, commerce, education, entertainment, fashion, finance, healthcare, media, professional services, research and development, tourism. It is crowned as the worlds largest financial centre and has the fifth- or sixth-largest metropolitan area GDP in the world, London is a world cultural capital. It is the worlds most-visited city as measured by international arrivals and has the worlds largest city airport system measured by passenger traffic, London is the worlds leading investment destination, hosting more international retailers and ultra high-net-worth individuals than any other city. Londons universities form the largest concentration of education institutes in Europe. In 2012, London became the first city to have hosted the modern Summer Olympic Games three times, London has a diverse range of people and cultures, and more than 300 languages are spoken in the region. Its estimated mid-2015 municipal population was 8,673,713, the largest of any city in the European Union, Londons urban area is the second most populous in the EU, after Paris, with 9,787,426 inhabitants at the 2011 census. The citys metropolitan area is the most populous in the EU with 13,879,757 inhabitants, the city-region therefore has a similar land area and population to that of the New York metropolitan area. London was the worlds most populous city from around 1831 to 1925, Other famous landmarks include Buckingham Palace, the London Eye, Piccadilly Circus, St Pauls Cathedral, Tower Bridge, Trafalgar Square, and The Shard. The London Underground is the oldest underground railway network in the world, the etymology of London is uncertain. It is an ancient name, found in sources from the 2nd century and it is recorded c.121 as Londinium, which points to Romano-British origin, and hand-written Roman tablets recovered in the city originating from AD 65/70-80 include the word Londinio. The earliest attempted explanation, now disregarded, is attributed to Geoffrey of Monmouth in Historia Regum Britanniae and this had it that the name originated from a supposed King Lud, who had allegedly taken over the city and named it Kaerlud. From 1898, it was accepted that the name was of Celtic origin and meant place belonging to a man called *Londinos. The ultimate difficulty lies in reconciling the Latin form Londinium with the modern Welsh Llundain, which should demand a form *lōndinion, from earlier *loundiniom. The possibility cannot be ruled out that the Welsh name was borrowed back in from English at a later date, and thus cannot be used as a basis from which to reconstruct the original name. Until 1889, the name London officially applied only to the City of London, two recent discoveries indicate probable very early settlements near the Thames in the London area
London
–
Palace of Westminster,
Buckingham Palace and
Central London skyline
London
London
London
–
The name London may derive from the
River Thames
4.
United Kingdom of Great Britain and Ireland
–
The United Kingdom of Great Britain and Ireland was established as a sovereign state on 1 January 1801 by the Acts of Union 1800, which merged the kingdoms of Great Britain and Ireland. The growing desire for an Irish Republic led to the Irish War of Independence, Northern Ireland remained part of the United Kingdom, and the state was consequently renamed the United Kingdom of Great Britain and Northern Ireland. Britain financed the European coalition that defeated France in 1815 in the Napoleonic Wars, the British Empire thereby became the foremost world power for the next century. The Crimean War with Russia and the Boer wars were relatively small operations in a largely peaceful century, rapid industrialisation that began in the decades prior to the states formation continued up until the mid-19th century. A devastating famine, exacerbated by government inaction in the century, led to demographic collapse in much of Ireland. It was an era of economic modernization and growth of industry, trade and finance. Outward migration was heavy to the colonies and to the United States. Britain also built up a large British Empire in Africa and Asia, India, by far the most important possession, saw a short-lived revolt in 1857. In foreign policy Britain favoured free trade, which enabled its financiers and merchants to operate successfully in many otherwise independent countries, as in South America. Britain formed no permanent military alliances until the early 20th century, when it began to cooperate with Japan, France and Russia, and moved closer to the United States. A brief period of limited independence for Ireland came to an end following the Irish Rebellion of 1798, the British governments fear of an independent Ireland siding against them with the French resulted in the decision to unite the two countries. This was brought about by legislation in the parliaments of both kingdoms and came into effect on 1 January 1801, however, King George III was bitterly opposed to any such Emancipation and succeeded in defeating his governments attempts to introduce it. When the Treaty of Amiens ended the war, Britain agreed to return most of the territories it had seized, in May 1803, war was declared again. In 1806, Napoleon issued the series of Berlin Decrees, which brought into effect the Continental System and this policy aimed to eliminate the threat from the British by closing French-controlled territory to foreign trade. Frances population and agricultural capacity far outstripped that of the British Isles, Napoleon expected that cutting Britain off from the European mainland would end its economic hegemony. The Spanish uprising in 1808 at last permitted Britain to gain a foothold on the Continent, after Napoleons surrender and exile to the island of Elba, peace appeared to have returned. The Allies united and the armies of Wellington and Blucher defeated Napoleon once, simultaneous with the Napoleonic Wars, trade disputes, arming hostile Indians and British impressment of American sailors led to the War of 1812 with the United States. The war was little noticed in Britain, which could devote few resources to the conflict until the fall of Napoleon in 1814, American frigates inflicted a series of defeats on the Royal Navy, which was short on manpower due to the conflict in Europe
United Kingdom of Great Britain and Ireland
–
The British
HMS Sandwich fires into the French
flagship Bucentaure (completely dismasted) during
Trafalgar. The Bucentaure also fights
HMS Victory (behind her) and
HMS Temeraire (left side of the picture). In fact, HMS Sandwich never fought at Trafalgar, it's a mistake by
Auguste Mayer, the painter.
United Kingdom of Great Britain and Ireland
–
Flag
United Kingdom of Great Britain and Ireland
–
Signing of the
Treaty of Ghent (1814), by A. Forestier c. 1915
United Kingdom of Great Britain and Ireland
–
The Duke of Wellington
5.
The Lady of Shalott (painting)
–
The Lady of Shalott is an 1888 painting by the English Pre-Raphaelite painter John William Waterhouse. It is a representation of a scene from Alfred, Lord Tennysons 1832 poem of the same name, Waterhouse painted three different versions of this character, in 1888,1894 and 1915. It is one of his most famous works, the epitome of the style of the Pre-Raphaelite Brotherhood, the Lady of Shalott was donated to the public by Sir Henry Tate in 1894, and is usually on display in Tate Britain, London, in room 1840. Waterhouse painted three different versions of character, in 1888,1894 and 1915. The Lady of Shalott is the epitome of Pre-Raphaelite style and this piece includes the Pre-Raphaelite aspect of nature, a sympathetic notion toward the subject portrayed, and the vivid detail and color, which is the trademark of Pre-Raphaelite artwork. The Lady of Shalott pictures the Lady, who is the character in Tennysons poem, also titled The Lady of Shalott. The Lady has made her way to this small canoe with a few of her belongings and she had been confined to her quarters, not allowed to go outside or even look outdoors. A curse is on her if she stay, wrote Tennyson, in the poem, a curse had been put on the Lady, but she defies the rules of the curse to see if she could live outside of her confinement. This is the moment that is pictured in Waterhouses painting, as the Lady is leaving to face her destiny and she is pictured sitting atop her woven tapestry, which showcases Waterhouse’s strong attention to detail. From a quick look, it appears like an oil-on-canvas painting of a woman in a canoe. But with a look, the painting is filled with metaphoric references. The Lady has a lantern at the front of her boat, in the poem by Tennyson, also, with a closer look, we can see a crucifix positioned near the front of the bow, and the Lady is gazing right over it. Next to the crucifix are three candles, candles were a representation of life – two of the candles are already blown out, signifying that her death is soon to come. Aside from the details, this painting is valued for Waterhouses realistic painting abilities. The Lady and the water and landscape around her are nearly flawless and her dress is stark white against the much darker hues of the background. This is a painting, sixty by nearly eighty inches. This oil-on-canvas painting by John William Waterhouse remains representative of the Pre-Raphaelites, the Lady of Shalott was donated to the public by Sir Henry Tate in 1894. Her despair was heightened when she saw loving couples entwined in the far distance, one day the Lady saw Sir Lancelot passing on his way in the reflection of the mirror, and dared to look out at Camelot, bringing about a curse
The Lady of Shalott (painting)
–
The Lady of Shalott
6.
Ophelia
–
Ophelia is a character in William Shakespeares play Hamlet. She is a noblewoman of Denmark, the daughter of Polonius, sister of Laertes. She is one of the two characters in the play. In Ophelias first speaking appearance in the play, she is seen with her brother, Laertes, Laertes warns her that Hamlet, the heir to the throne of Denmark, does not have the freedom to marry whomever he wants. Ophelias father, Polonius, who enters while Laertes is leaving, also forbids Ophelia from pursuing Hamlet, based on what Ophelia told him, Polonius concludes that he was wrong to forbid Ophelia from seeing Hamlet, and that Hamlet must be mad with love for her. Polonius immediately decides to go to Claudius, the new King of Denmark and also Hamlets uncle and stepfather, Polonius later suggests to Claudius that they hide behind an arras to overhear Hamlet speaking to Ophelia, when Hamlet thinks the conversation is private. Since Polonius is now sure that Hamlet is lovesick for Ophelia, Claudius agrees to try the eavesdropping plan later. The plan leads to what is called the Nunnery Scene. Polonius instructs Ophelia to stand in the lobby of the castle while he, Hamlet enters the room in a different world from the others, and recites his To be, or not to be soliloquy. Hamlet approaches Ophelia and talks to her, saying Get thee to a nunnery, Hamlet asks Ophelia where her father is and she lies to him, saying her father must be at home. Hamlet realizes he is being spied and he exits after declaring, I say we will have no more marriages. Ophelia is left bewildered and heartbroken, sure that Hamlet is insane and she knows that ultimately it is she that broke him because she lied. She was the woman he had loved and a friend whom he trusted, after Hamlet storms out, Ophelia makes her O, what a noble mind is here oerthrown soliloquy. The next time Ophelia appears is at the Mousetrap Play, which Hamlet has arranged in order to try to prove that Claudius killed King Hamlet, Hamlet sits with Ophelia and makes sexually suggestive remarks, he also says that womans love is brief. Later that night, after the play, Hamlet kills Polonius during a meeting between Hamlet and his mother, Queen Gertrude. At Ophelias next appearance, after her fathers death, she has gone mad and she talks in riddles and rhymes, and sings some mad and bawdy songs about death and a maiden losing her virginity. She exits after bidding everyone a good night, the last time Ophelia appears in the play is after Laertes comes to the castle to challenge Claudius over the death of his father, Polonius. Ophelia sings more songs and hands out flowers, citing their symbolic meanings, although interpretations of the meanings differ
Ophelia
–
John William Waterhouse 's painting Ophelia (1894)
Ophelia
–
Hamlet, Act IV, Scene V (Ophelia Before the King and Queen), Benjamin West, 1792
Ophelia
–
Ophelia by
John Everett Millais (1852) is part of the
Tate Gallery collection. His painting influenced the image in
Kenneth Branagh 's Hamlet
Ophelia
–
Ophelia by
Alexandre Cabanel
7.
Pre-Raphaelite Brotherhood
–
The Pre-Raphaelite Brotherhood was a group of English painters, poets, and critics, founded in 1848 by William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti. The three founders were joined by William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner to form the seven-member brotherhood and their principles were shared by other artists, including Marie Spartali Stillman and Ford Madox Brown. A later, medievalising strain inspired by Rossetti included Edward Burne-Jones, the groups intention was to reform art by rejecting what it considered the mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo. Its members believed the Classical poses and elegant compositions of Raphael in particular had been an influence on the academic teaching of art. In particular, the group objected to the influence of Sir Joshua Reynolds, founder of the English Royal Academy of Arts, to the Pre-Raphaelites, according to William Michael Rossetti, sloshy meant anything lax or scamped in the process of painting. Any thing or person of a commonplace or conventional kind, the brotherhood sought a return to the abundant detail, intense colours and complex compositions of Quattrocento Italian art. The group associated their work with John Ruskin, an English critic whose influences were driven by his religious background, the group continued to accept the concepts of history painting and mimesis, imitation of nature, as central to the purpose of art. The Pre-Raphaelites defined themselves as a movement, created a distinct name for their form of art. The groups debates were recorded in the Pre-Raphaelite Journal, the Pre-Raphaelite Brotherhood was founded in John Millaiss parents house on Gower Street, London in 1848. At the first meeting, the painters John Everett Millais, Dante Gabriel Rossetti, Hunt and Millais were students at the Royal Academy of Arts and had met in another loose association, the Cyclographic Club, a sketching society. At his own request Rossetti became a pupil of Ford Madox Brown in 1848, at that date, Rossetti and Hunt shared lodgings in Cleveland Street, Fitzrovia, Central London. Hunt had started painting The Eve of St. Agnes based on Keatss poem of the same name, as an aspiring poet, Rossetti wished to develop the links between Romantic poetry and art. Ford Madox Brown was invited to join, but the more senior artist remained independent but supported the group throughout the PRB period of Pre-Raphaelitism, other young painters and sculptors became close associates, including Charles Allston Collins, Thomas Tupper, and Alexander Munro. The PRB intended to keep the existence of the secret from members of the Royal Academy. The principles were deliberately non-dogmatic, since the brotherhood wished to emphasise the personal responsibility of artists to determine their own ideas. Influenced by Romanticism, the members thought freedom and responsibility were inseparable, nevertheless, they were particularly fascinated by medieval culture, believing it to possess a spiritual and creative integrity that had been lost in later eras. The emphasis on medieval culture clashed with principles of realism which stress the independent observation of nature, in its early stages, the Pre-Raphaelite Brotherhood believed its two interests were consistent with one another, but in later years the movement divided and moved in two directions. The realists were led by Hunt and Millais, while the medievalists were led by Rossetti and his followers, Edward Burne-Jones and William Morris
Pre-Raphaelite Brotherhood
–
Proserpine, by
Dante Gabriel Rossetti
Pre-Raphaelite Brotherhood
–
Christ in the House of His Parents, by John Everett Millais, 1850
Pre-Raphaelite Brotherhood
–
Illustration by Holman Hunt of Thomas Woolner's poem "My Beautiful Lady", published in The Germ, 1850
Pre-Raphaelite Brotherhood
–
Ophelia, by
John Everett Millais
8.
Esther Kenworthy Waterhouse
–
Esther Kenworthy Waterhouse, born Esther Maria Kenworthy, was a British artist who exhibited her flower-paintings at the Royal Academy and elsewhere. She was the daughter of James Lees Kenworthy, an artist and schoolmaster from Ealing, in West London, and Elizabeth and she married fellow artist John William Waterhouse at the parish church in Ealing, in 1883, and thereafter used the name Esther Kenworthy Waterhouse. They had two children, but both died in childhood, initially, they lived in a purpose built artistic colony in Primrose Hill, where the houses had studios. In around 1900, they moved to St Johns Wood and she is buried, along with her husband, at Kensal Green Cemetery. Waterhouses portrait of her is now owned by Sheffield City Art Galleries, peter Trippi, Waterhouse, John William, Oxford Dictionary of National Biography, Oxford University Press,2004 accessed 27 June 2007 Esther Kenworthy Waterhouse, portrait, Waterhouse
Esther Kenworthy Waterhouse
–
Portrait of the Artist's Wife (John William Waterhouse, 1885 circa)
9.
Royal Academician
–
The Royal Academy of Arts is an art institution based in Burlington House on Piccadilly in London. The Royal Academy of Arts was founded through an act of King George III on 10 December 1768 with a mission to promote the arts of design in Britain through education and exhibition. Supporters wanted to foster a national school of art and to encourage appreciation, fashionable taste in 18th-century Britain was based on continental and traditional art forms, providing contemporary British artists little opportunity to sell their works. From 1746 the Foundling Hospital, through the efforts of William Hogarth, the success of this venture led to the formation of the Society of Artists of Great Britain and the Free Society of Artists. Both these groups were primarily exhibiting societies, their success was marred by internal factions among the artists. The combined vision of education and exhibition to establish a school of art set the Royal Academy apart from the other exhibiting societies. It provided the foundation upon which the Royal Academy came to dominate the art scene of the 18th and 19th centuries, supplanting the earlier art societies. Sir William Chambers, a prominent architect, used his connections with George III to gain royal patronage and financial support of the Academy, the painter Joshua Reynolds was made its first president. Francis Milner Newton was elected the first secretary, a post he held for two decades until his resignation in 1788, the instrument of foundation, signed by George III on 10 December 1768, named 34 founder members and allowed for a total membership of 40. William Hoare and Johann Zoffany were added to this list later by the King and are known as nominated members, among the founder members were two women, a father and daughter, and two sets of brothers. The Royal Academy was initially housed in cramped quarters in Pall Mall, although in 1771 it was given temporary accommodation for its library and schools in Old Somerset House, then a royal palace. In 1780 it was installed in purpose-built apartments in the first completed wing of New Somerset House, located in the Strand and designed by Chambers, the Academy moved in 1837 to Trafalgar Square, where it occupied the east wing of the recently completed National Gallery. These premises soon proved too small to house both institutions, in 1868,100 years after the Academys foundation, it moved to Burlington House, Piccadilly, where it remains. Burlington House is owned by the British Government, and used rent-free by the Royal Academy, the first Royal Academy exhibition of contemporary art, open to all artists, opened on 25 April 1769 and ran until 27 May 1769. 136 works of art were shown and this exhibition, now known as the Royal Academy Summer Exhibition, has been staged annually without interruption to the present day. In 1870 the Academy expanded its programme to include a temporary annual loan exhibition of Old Masters. The range and frequency of these exhibitions have grown enormously since that time. Britains first public lectures on art were staged by the Royal Academy, led by Reynolds, the first president, a program included lectures by Dr. William Hunter, John Flaxman, James Barry, Sir John Soane, and J. M. W. Turner
Royal Academician
–
Royal Academy of Arts
Royal Academician
–
Satiric drawing of Sir William Chambers, one of the founders, trying to slay the 8-headed hydra of the Incorporated Society of Artists
Royal Academician
–
Study for
Henry Singleton 's painting The Royal Academicians assembled in their council chamber to adjudge the Medals to the successful students in Painting, Sculpture, Architecture and Drawing, which hangs in the Royal Academy. Ca. 1793.
Royal Academician
–
An early
RA Summer Exhibition at the Academy's original home in
Somerset House
10.
Pre-Raphaelite
–
The Pre-Raphaelite Brotherhood was a group of English painters, poets, and critics, founded in 1848 by William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti. The three founders were joined by William Michael Rossetti, James Collinson, Frederic George Stephens and Thomas Woolner to form the seven-member brotherhood and their principles were shared by other artists, including Marie Spartali Stillman and Ford Madox Brown. A later, medievalising strain inspired by Rossetti included Edward Burne-Jones, the groups intention was to reform art by rejecting what it considered the mechanistic approach first adopted by Mannerist artists who succeeded Raphael and Michelangelo. Its members believed the Classical poses and elegant compositions of Raphael in particular had been an influence on the academic teaching of art. In particular, the group objected to the influence of Sir Joshua Reynolds, founder of the English Royal Academy of Arts, to the Pre-Raphaelites, according to William Michael Rossetti, sloshy meant anything lax or scamped in the process of painting. Any thing or person of a commonplace or conventional kind, the brotherhood sought a return to the abundant detail, intense colours and complex compositions of Quattrocento Italian art. The group associated their work with John Ruskin, an English critic whose influences were driven by his religious background, the group continued to accept the concepts of history painting and mimesis, imitation of nature, as central to the purpose of art. The Pre-Raphaelites defined themselves as a movement, created a distinct name for their form of art. The groups debates were recorded in the Pre-Raphaelite Journal, the Pre-Raphaelite Brotherhood was founded in John Millaiss parents house on Gower Street, London in 1848. At the first meeting, the painters John Everett Millais, Dante Gabriel Rossetti, Hunt and Millais were students at the Royal Academy of Arts and had met in another loose association, the Cyclographic Club, a sketching society. At his own request Rossetti became a pupil of Ford Madox Brown in 1848, at that date, Rossetti and Hunt shared lodgings in Cleveland Street, Fitzrovia, Central London. Hunt had started painting The Eve of St. Agnes based on Keatss poem of the same name, as an aspiring poet, Rossetti wished to develop the links between Romantic poetry and art. Ford Madox Brown was invited to join, but the more senior artist remained independent but supported the group throughout the PRB period of Pre-Raphaelitism, other young painters and sculptors became close associates, including Charles Allston Collins, Thomas Tupper, and Alexander Munro. The PRB intended to keep the existence of the secret from members of the Royal Academy. The principles were deliberately non-dogmatic, since the brotherhood wished to emphasise the personal responsibility of artists to determine their own ideas. Influenced by Romanticism, the members thought freedom and responsibility were inseparable, nevertheless, they were particularly fascinated by medieval culture, believing it to possess a spiritual and creative integrity that had been lost in later eras. The emphasis on medieval culture clashed with principles of realism which stress the independent observation of nature, in its early stages, the Pre-Raphaelite Brotherhood believed its two interests were consistent with one another, but in later years the movement divided and moved in two directions. The realists were led by Hunt and Millais, while the medievalists were led by Rossetti and his followers, Edward Burne-Jones and William Morris
Pre-Raphaelite
–
Proserpine, by
Dante Gabriel Rossetti
Pre-Raphaelite
–
Illustration by Holman Hunt of Thomas Woolner's poem "My Beautiful Lady", published in The Germ, 1850
Pre-Raphaelite
–
Christ in the House of His Parents, by John Everett Millais, 1850
Pre-Raphaelite
–
Ophelia, by
John Everett Millais
11.
Impressionism
–
Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. The Impressionists faced harsh opposition from the art community in France. The development of Impressionism in the arts was soon followed by analogous styles in other media that became known as impressionist music. Radicals in their time, early Impressionists violated the rules of academic painting and they constructed their pictures from freely brushed colours that took precedence over lines and contours, following the example of painters such as Eugène Delacroix and J. M. W. Turner. They also painted scenes of modern life, and often painted outdoors. Previously, still lifes and portraits as well as landscapes were painted in a studio. The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air, the Impressionists, however, developed new techniques specific to the style. The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if the art critics and art establishment disapproved of the new style. In the middle of the 19th century—a time of change, as Emperor Napoleon III rebuilt Paris, the Académie was the preserver of traditional French painting standards of content and style. Historical subjects, religious themes, and portraits were valued, landscape, the Académie preferred carefully finished images that looked realistic when examined closely. Paintings in this style were made up of brush strokes carefully blended to hide the artists hand in the work. Colour was restrained and often toned down further by the application of a golden varnish, the Académie had an annual, juried art show, the Salon de Paris, and artists whose work was displayed in the show won prizes, garnered commissions, and enhanced their prestige. The standards of the juries represented the values of the Académie, represented by the works of artists as Jean-Léon Gérôme. In the early 1860s, four young painters—Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and they discovered that they shared an interest in painting landscape and contemporary life rather than historical or mythological scenes. A favourite meeting place for the artists was the Café Guerbois on Avenue de Clichy in Paris, where the discussions were led by Édouard Manet. They were soon joined by Camille Pissarro, Paul Cézanne, during the 1860s, the Salon jury routinely rejected about half of the works submitted by Monet and his friends in favour of works by artists faithful to the approved style. In 1863, the Salon jury rejected Manets The Luncheon on the Grass primarily because it depicted a woman with two clothed men at a picnic. While the Salon jury routinely accepted nudes in historical and allegorical paintings, the jurys severely worded rejection of Manets painting appalled his admirers, and the unusually large number of rejected works that year perturbed many French artists
Impressionism
–
Claude Monet,
Haystacks, (sunset), 1890–1891,
Museum of Fine Arts, Boston
Impressionism
–
Pierre-Auguste Renoir, Dance at Le Moulin de la Galette (
Bal du moulin de la Galette),
Musée d'Orsay, 1876
Impressionism
–
Édouard Manet,
The Luncheon on the Grass (Le déjeuner sur l'herbe), 1863
Impressionism
–
Alfred Sisley, View of the Saint-Martin Canal, Paris, 1870,
Musée d'Orsay
12.
Greek mythology
–
It was a part of the religion in ancient Greece. Greek mythology is explicitly embodied in a collection of narratives. Greek myth attempts to explain the origins of the world, and details the lives and adventures of a variety of gods, goddesses, heroes, heroines. These accounts initially were disseminated in a tradition, today the Greek myths are known primarily from ancient Greek literature. The oldest known Greek literary sources, Homers epic poems Iliad and Odyssey, focus on the Trojan War, archaeological findings provide a principal source of detail about Greek mythology, with gods and heroes featured prominently in the decoration of many artifacts. Geometric designs on pottery of the eighth century BC depict scenes from the Trojan cycle as well as the adventures of Heracles, in the succeeding Archaic, Classical, and Hellenistic periods, Homeric and various other mythological scenes appear, supplementing the existing literary evidence. Greek mythology has had an influence on the culture, arts. Poets and artists from ancient times to the present have derived inspiration from Greek mythology and have discovered contemporary significance and relevance in the themes, Greek mythology is known today primarily from Greek literature and representations on visual media dating from the Geometric period from c. Mythical narration plays an important role in every genre of Greek literature. Nevertheless, the only general mythographical handbook to survive from Greek antiquity was the Library of Pseudo-Apollodorus and this work attempts to reconcile the contradictory tales of the poets and provides a grand summary of traditional Greek mythology and heroic legends. Apollodorus of Athens lived from c, 180–125 BC and wrote on many of these topics. His writings may have formed the basis for the collection, however the Library discusses events that occurred long after his death, among the earliest literary sources are Homers two epic poems, the Iliad and the Odyssey. Other poets completed the cycle, but these later and lesser poems now are lost almost entirely. Despite their traditional name, the Homeric Hymns have no connection with Homer. They are choral hymns from the part of the so-called Lyric age. Hesiods Works and Days, a poem about farming life, also includes the myths of Prometheus, Pandora. The poet gives advice on the best way to succeed in a dangerous world, lyrical poets often took their subjects from myth, but their treatment became gradually less narrative and more allusive. Greek lyric poets, including Pindar, Bacchylides and Simonides, and bucolic poets such as Theocritus and Bion, additionally, myth was central to classical Athenian drama
Greek mythology
–
Bust of
Zeus,
Otricoli (Sala Rotonda,
Museo Pio-Clementino,
Vatican).
Greek mythology
–
Greek Mythology
Greek mythology
–
Prometheus (1868 by
Gustave Moreau). The myth of Prometheus first was attested by
Hesiod and then constituted the basis for a tragic trilogy of plays, possibly by Aeschylus, consisting of
Prometheus Bound,
Prometheus Unbound, and
Prometheus Pyrphoros.
Greek mythology
–
The Roman poet
Virgil, here depicted in the fifth-century manuscript, the
Vergilius Romanus, preserved details of Greek mythology in many of his writings.
13.
Arthurian legend
–
It could be said that the legendary history of Britain was created in part to form a body of patriotic myth for the country. Several agendas thus can be seen in this body of literature, the Historia Brittonum, the earliest known source of the story of Brutus of Troy, may have been devised to create a distinguished genealogy for a number of Welsh princes in the 9th century. Traditionally attributed to Nennius, its actual compiler is unknown, it exists in several recensions, as such, this material could be used for patriotic mythmaking just as Virgil linked the founding of Rome to the Trojan War in The Æneid. Geoffrey of Monmouth also introduced the fanciful claim that the Trinovantes, reported by Tacitus as dwelling in the area of London, had a name he interpreted as Troi-novant, New Troy. More speculative claims link Welsh mythology with several of the rulers and it has been suggested, for instance, that Leir of Britain, who later became Shakespeares King Lear, was originally the Welsh sea-god Llŷr. Various Celtic deities have been identified with characters from Arthurian literature as well, many of these identifications come from the speculative comparative religion of the late 19th century, and have been questioned in more recent years. William Shakespeare was interested in the history of Britain, and was familiar with some of its more obscure byways. Shakespeares plays contain several tales relating to these kings, such as King Lear. It has been suggested that Shakespeares Welsh schoolmaster Thomas Jenkins introduced him to this material and these tales also figure in Raphael Holinsheds The Chronicles of England, Scotland, and Ireland, which also appears in Shakespeares sources for Macbeth. Other early authors also drew from the early Arthurian and pseudo-historical sources of the Matter of Britain, the Scots, for instance, formulated a mythical history in the Picts and the Dál Riata royal lines. While they do eventually become factual lines, unlike those of Geoffrey, their origins are vague, the story of Gabrán mac Domangairt especially incorporates elements of both those histories. The Arthurian literary cycle is the best known part of the Matter of Britain and it has succeeded largely because it tells two interlocking stories that have intrigued many later authors. One concerns Camelot, usually envisioned as a utopia of chivalric virtue, undone by the fatal flaws of Arthur. The other concerns the quests of the knights to achieve the Holy Grail, some succeed. Finally, the relationships between the characters invited treatment in the tradition of love, such as Lancelot and Guinevere, or Tristan. In more recent years, the trend has been to attempt to link the tales of King Arthur and his knights with Celtic mythology, usually in highly romanticized, early 20th century reconstructed versions. Additionally, it is possible to read the Arthurian literature in general, derek Pearsall, Arthurian Romance, a short introduction, Blackwell, Oxford,2005 D
Arthurian legend
–
Tapestry showing Arthur as one of the
Nine Worthies, wearing a
coat of arms often attributed to him (c. 1385)
Arthurian legend
–
Statue of King Arthur at the
Hofkirche in
Innsbruck, designed by
Albrecht Dürer and cast by
Peter Vischer the Elder (1520s)
Arthurian legend
–
The 10th-century
Annales Cambriae (from a copy c. 1100)
Arthurian legend
–
A facsimile page of
Y Gododdin, one of the most famous early Welsh texts featuring Arthur (c. 1275)
14.
Royal Academy of Art
–
The Royal Academy of Arts is an art institution based in Burlington House on Piccadilly in London. The Royal Academy of Arts was founded through an act of King George III on 10 December 1768 with a mission to promote the arts of design in Britain through education and exhibition. Supporters wanted to foster a national school of art and to encourage appreciation, fashionable taste in 18th-century Britain was based on continental and traditional art forms, providing contemporary British artists little opportunity to sell their works. From 1746 the Foundling Hospital, through the efforts of William Hogarth, the success of this venture led to the formation of the Society of Artists of Great Britain and the Free Society of Artists. Both these groups were primarily exhibiting societies, their success was marred by internal factions among the artists. The combined vision of education and exhibition to establish a school of art set the Royal Academy apart from the other exhibiting societies. It provided the foundation upon which the Royal Academy came to dominate the art scene of the 18th and 19th centuries, supplanting the earlier art societies. Sir William Chambers, a prominent architect, used his connections with George III to gain royal patronage and financial support of the Academy, the painter Joshua Reynolds was made its first president. Francis Milner Newton was elected the first secretary, a post he held for two decades until his resignation in 1788, the instrument of foundation, signed by George III on 10 December 1768, named 34 founder members and allowed for a total membership of 40. William Hoare and Johann Zoffany were added to this list later by the King and are known as nominated members, among the founder members were two women, a father and daughter, and two sets of brothers. The Royal Academy was initially housed in cramped quarters in Pall Mall, although in 1771 it was given temporary accommodation for its library and schools in Old Somerset House, then a royal palace. In 1780 it was installed in purpose-built apartments in the first completed wing of New Somerset House, located in the Strand and designed by Chambers, the Academy moved in 1837 to Trafalgar Square, where it occupied the east wing of the recently completed National Gallery. These premises soon proved too small to house both institutions, in 1868,100 years after the Academys foundation, it moved to Burlington House, Piccadilly, where it remains. Burlington House is owned by the British Government, and used rent-free by the Royal Academy, the first Royal Academy exhibition of contemporary art, open to all artists, opened on 25 April 1769 and ran until 27 May 1769. 136 works of art were shown and this exhibition, now known as the Royal Academy Summer Exhibition, has been staged annually without interruption to the present day. In 1870 the Academy expanded its programme to include a temporary annual loan exhibition of Old Masters. The range and frequency of these exhibitions have grown enormously since that time. Britains first public lectures on art were staged by the Royal Academy, led by Reynolds, the first president, a program included lectures by Dr. William Hunter, John Flaxman, James Barry, Sir John Soane, and J. M. W. Turner
Royal Academy of Art
–
Royal Academy of Arts
Royal Academy of Art
–
Satiric drawing of Sir William Chambers, one of the founders, trying to slay the 8-headed hydra of the Incorporated Society of Artists
Royal Academy of Art
–
Study for
Henry Singleton 's painting The Royal Academicians assembled in their council chamber to adjudge the Medals to the successful students in Painting, Sculpture, Architecture and Drawing, which hangs in the Royal Academy. Ca. 1793.
Royal Academy of Art
–
An early
RA Summer Exhibition at the Academy's original home in
Somerset House
15.
Dante Gabriel Rossetti
–
Dante Gabriel Rossetti was an English poet, illustrator, painter and translator. He founded the Pre-Raphaelite Brotherhood in 1848 with William Holman Hunt, Rossetti was later to be the main inspiration for a second generation of artists and writers influenced by the movement, most notably William Morris and Edward Burne-Jones. His work also influenced the European Symbolists and was a precursor of the Aesthetic movement. Rossettis art was characterised by its sensuality and its medieval revivalism and his early poetry was influenced by John Keats. His later poetry was characterised by the complex interlinking of thought and feeling, especially in his sonnet sequence, poetry and image are closely entwined in Rossettis work. Rossettis personal life was linked to his work, especially his relationships with his models and muses Elizabeth Siddal, Fanny Cornforth. The son of émigré Italian scholar Gabriele Pasquale Giuseppe Rossetti and his wife Frances Mary Lavinia Polidori, Rossetti was born in London, England and his family and friends called him Gabriel, but in publications he put the name Dante first in honour of Dante Alighieri. He was the brother of poet Christina Rossetti, critic William Michael Rossetti and his father was a Roman Catholic, at least prior to his marriage, and his mother was an Anglican, ostensibly Gabriel was baptized as and was a practicing Anglican. During his childhood, Rossetti was home educated and often read the Bible, along with the works of Shakespeare, Dickens, Sir Walter Scott, the youthful Rossetti is described as self-possessed, articulate, passionate and charismatic but also ardent, poetic and feckless. Like all his siblings, he aspired to be a poet and attended Kings College School and he also wished to be a painter, having shown a great interest in Medieval Italian art. He studied at Henry Sass Drawing Academy from 1841 to 1845, when he enrolled in the Antique School of the Royal Academy, after leaving the Royal Academy, Rossetti studied under Ford Madox Brown, with whom he retained a close relationship throughout his life. Following the exhibition of William Holman Hunts painting The Eve of St. Agnes, the painting illustrated a poem by the little-known John Keats. Rossettis own poem, The Blessed Damozel, was an imitation of Keats, together they developed the philosophy of the Pre-Raphaelite Brotherhood which they founded along with John Everett Millais. Their approach was to return to the abundant detail, intense colours, the eminent critic John Ruskin wrote, Every Pre-Raphaelite landscape background is painted to the last touch, in the open air, from the thing itself. Every Pre-Raphaelite figure, however studied in expression, is a portrait of some living person. Rossettis first major paintings in oil display the realist qualities of the early Pre-Raphaelite movement and his Girlhood of Mary Virgin and Ecce Ancilla Domini portray Mary as a teenage girl. I saw at once that he was not an orthodox boy, the mixture of genius and dilettantism of both men shut me up for the moment, and whetted my curiosity. Although his work subsequently won support from John Ruskin, Rossetti only rarely exhibited thereafter, in 1850, Rossetti met Elizabeth Siddal, an important model for the Pre-Raphaelite painters
Dante Gabriel Rossetti
–
Portrait of Dante Gabriel Rossetti c. 1871, by
George Frederic Watts
Dante Gabriel Rossetti
–
Self-portrait, 1847
Dante Gabriel Rossetti
–
Portrait of Dante Gabriel Rossetti at 22 years of Age by
William Holman Hunt
Dante Gabriel Rossetti
–
The Girlhood of Mary Virgin (1849). (Models: the artist's mother for
St. Anne and his sister Christina for
the Virgin).
16.
John Everett Millais
–
Sir John Everett Millais, 1st Baronet, PRA was an English painter and illustrator who was one of the founders of the Pre-Raphaelite Brotherhood. A child prodigy, at the age of eleven Millais became the youngest student to enter the Royal Academy Schools, the Pre-Raphaelite Brotherhood was founded at his family home in London, at 83 Gower Street. Millais became the most famous exponent of the style, his painting Christ in the House of His Parents generating considerable controversy, by the mid-1850s Millais was moving away from the Pre-Raphaelite style and developing a new and powerful form of realism in his art. His later works were successful, making Millais one of the wealthiest artists of his day. Millaiss personal life has played a significant role in his reputation. His wife Effie was formerly married to the critic John Ruskin, Millais was born in Southampton, England in 1829, of a prominent Jersey-based family. His parents were John William Millais and Emily Mary Millais, most of his early childhood was spent in Jersey, to which he retained a strong devotion throughout his life. The author Thackeray once asked him when England conquered Jersey, the family moved to Dinan in Brittany for a few years in his childhood. His mothers forceful personality was the most powerful influence on his early life and she had a keen interest in art and music, and encouraged her sons artistic bent, promoting the relocating of the family to London to help develop contacts at the Royal Academy of Art. He later said I owe everything to my mother and his prodigious artistic talent won him a place at the Royal Academy schools at the unprecedented age of eleven. While there, he met William Holman Hunt and Dante Gabriel Rossetti with whom he formed the Pre-Raphaelite Brotherhood in September 1848 in his home on Gower Street. Millaiss Christ in the House of His Parents was highly controversial because of its portrayal of a working class Holy Family labouring in a messy carpentry workshop. Later works were controversial, though less so. Millais achieved popular success with A Huguenot, which depicts a couple about to be separated because of religious conflicts. He repeated this theme in later works. All these early works were painted with great attention to detail, in paintings such as Ophelia Millais created dense and elaborate pictorial surfaces based on the integration of naturalistic elements. This approach has been described as a kind of pictorial eco-system, Mariana is a painting that Millais painted in 1850-51 based on the play Measure for Measure by William Shakespeare and the poem of the same name by Alfred, Lord Tennyson from 1830. In the play, the young Mariana was to be married and this style was promoted by the critic John Ruskin, who had defended the Pre-Raphaelites against their critics
John Everett Millais
–
Sir John Everett Millais, Bt
John Everett Millais
–
Photo of Millais, c. 1854
John Everett Millais
–
Mariana
John Everett Millais
–
The Order of Release (1853) Tate Britain, London
17.
William Holman Hunt
–
William Holman Hunt OM was an English painter and one of the founders of the Pre-Raphaelite Brotherhood. His paintings were notable for their attention to detail, vivid color. These features were influenced by the writings of John Ruskin and Thomas Carlyle, for Hunt it was the duty of the artist to reveal the correspondence between sign and fact. Of all the members of the Pre-Raphaelite Brotherhood, Hunt remained most true to their ideals throughout his career and he was always keen to maximize the popular appeal and public visibility of his works. After eventually entering the Royal Academy art schools, having initially been rejected and he formed the Pre-Raphaelite movement in 1848, after meeting the poet and artist Dante Gabriel Rossetti. Along with John Everett Millais they sought to revitalise art by emphasising the detailed observation of the world in a spirit of quasi-religious devotion to truth. This religious approach was influenced by the qualities of medieval art. He had many pupils including Robert Braithwaite Martineau, after a failed engagement to his model Annie Miller, he married Fanny Waugh, who later modelled for the figure of Isabella. When she died in childbirth in Italy, he sculpted her tomb at Fiesole, having it brought down to the English Cemetery in Florence and he had a close connection with St. Marks Church in Florence, and paid for the communion chalice inscribed in memory of his wife and his second wife, Edith, was Fannys sister. At the time it was illegal in Great Britain to marry ones deceased wifes sister, hunts works were not initially successful, and were widely attacked in the art press for their alleged clumsiness and ugliness. He achieved some note for his intensely naturalistic scenes of modern rural and urban life, such as The Hireling Shepherd. Hunt also painted works based on poems, such as Isabella. He eventually built his own house in Jerusalem and he eventually had to relinquish painting because failing eyesight meant that he could not achieve the quality that he wanted. His last major works, including a version of The Light of the World, were completed with the help of his assistant. Hunt died on 7 September 1910 and was buried in St Pauls Cathedral in London, Hunt published an autobiography in 1905. Many of his writings are attempts to control the interpretation of his work. That year, he was appointed to the Order of Merit by King Edward VII, at the end of his life he lived in Sonning-on-Thames
William Holman Hunt
–
Self-portrait, 1867,
Galleria degli Uffizi,
Florence
William Holman Hunt
–
William Holman Hunt
William Holman Hunt
–
Our English Coasts, 1852 ('Strayed Sheep')
William Holman Hunt
–
Hunt in his eastern dress, photo by
Julia Margaret Cameron
18.
Baptism
–
Baptism is a Christian sacrament of admission and adoption, almost invariably with the use of water, into the Christian Church generally. The canonical Gospels report that Jesus was baptized—a historical event to which a degree of certainty can be assigned. Baptism has been called a sacrament and an ordinance of Jesus Christ. In some denominations, baptism is also called christening, but for others the word christening is reserved for the baptism of infants, Baptism has also given its name to the Baptist churches and denominations. The usual form of baptism among the earliest Christians was for the candidate to be immersed, in v.16, Matthew will speak of Jesus coming up out of the water. The traditional depiction in Christian art of John the Baptist pouring water over Jesus head may therefore be based on later Christian practice, other common forms of baptism now in use include pouring water three times on the forehead, a method called affusion. Martyrdom was identified early in Church history as baptism by blood, later, the Catholic Church identified a baptism of desire, by which those preparing for baptism who die before actually receiving the sacrament are considered saved. Today, some Christians, particularly Christian Scientists, Quakers, The Salvation Army, and Unitarians, do not see baptism as necessary, among those that do, differences can be found in the manner and mode of baptizing and in the understanding of the significance of the rite. Most Christians baptize in the name of the Father, and of the Son, and of the Holy Spirit, much more than half of all Christians baptize infants, many others hold that only believers baptism is true baptism. Some insist on submersion or at least partial immersion of the person who is baptized, others consider that any form of washing by water, as long as the water flows on the head, is sufficient. The term baptism has also used to refer to any ceremony, trial, or experience by which a person is initiated, purified. The Greek verb baptō, dip, from which the verb baptizo is derived, is in turn hypothetically traced to a reconstructed Indo-European root *gʷabh-, the Greek words are used in a great variety of meanings. John the Baptist, who is considered a forerunner to Christianity, the apostle Paul distinguished between the baptism of John, and baptism in the name of Jesus, and it is questionable whether Christian baptism was in some way linked with that of John. Christians consider Jesus to have instituted the sacrament of baptism, though whether Jesus intended to institute a continuing, the earliest Christian baptisms were probably normally by immersion, complete or partial. Though other modes may have also been used, at the hour in which the cock crows, they shall first pray over the water. When they come to the water, the water shall be pure and flowing, that is, then they shall take off all their clothes. The children shall be baptized first, all of the children who can answer for themselves, let them answer. If there are any children who cannot answer for themselves, let their parents answer for them, after this, the men will be baptized
Baptism
–
Masaccio (1425–1426), Baptism of the Neophytes (it),
Brancacci Chapel,
Florence. This painting depicts baptism by
affusion, which continues in the East except for infants, but in the West it had dropped almost completely out of use by the 15th century. The artist may have chosen an archaic form for this depiction of baptism by
St. Peter.
Baptism
–
Catacombs of San Callisto: baptism in a 3rd-century painting
Baptism
–
Christening photograph in
Orthodox Church. The moment of
Catechism.
19.
Ancient Rome
–
In its many centuries of existence, the Roman state evolved from a monarchy to a classical republic and then to an increasingly autocratic empire. Through conquest and assimilation, it came to dominate the Mediterranean region and then Western Europe, Asia Minor, North Africa and it is often grouped into classical antiquity together with ancient Greece, and their similar cultures and societies are known as the Greco-Roman world. Ancient Roman civilisation has contributed to modern government, law, politics, engineering, art, literature, architecture, technology, warfare, religion, language and society. Rome professionalised and expanded its military and created a system of government called res publica, the inspiration for modern republics such as the United States and France. By the end of the Republic, Rome had conquered the lands around the Mediterranean and beyond, its domain extended from the Atlantic to Arabia, the Roman Empire emerged with the end of the Republic and the dictatorship of Augustus Caesar. 721 years of Roman-Persian Wars started in 92 BC with their first war against Parthia and it would become the longest conflict in human history, and have major lasting effects and consequences for both empires. Under Trajan, the Empire reached its territorial peak, Republican mores and traditions started to decline during the imperial period, with civil wars becoming a prelude common to the rise of a new emperor. Splinter states, such as the Palmyrene Empire, would divide the Empire during the crisis of the 3rd century. Plagued by internal instability and attacked by various migrating peoples, the part of the empire broke up into independent kingdoms in the 5th century. This splintering is a landmark historians use to divide the ancient period of history from the pre-medieval Dark Ages of Europe. King Numitor was deposed from his throne by his brother, Amulius, while Numitors daughter, Rhea Silvia, because Rhea Silvia was raped and impregnated by Mars, the Roman god of war, the twins were considered half-divine. The new king, Amulius, feared Romulus and Remus would take back the throne, a she-wolf saved and raised them, and when they were old enough, they returned the throne of Alba Longa to Numitor. Romulus became the source of the citys name, in order to attract people to the city, Rome became a sanctuary for the indigent, exiled, and unwanted. This caused a problem for Rome, which had a large workforce but was bereft of women, Romulus traveled to the neighboring towns and tribes and attempted to secure marriage rights, but as Rome was so full of undesirables they all refused. Legend says that the Latins invited the Sabines to a festival and stole their unmarried maidens, leading to the integration of the Latins, after a long time in rough seas, they landed at the banks of the Tiber River. Not long after they landed, the men wanted to take to the sea again, one woman, named Roma, suggested that the women burn the ships out at sea to prevent them from leaving. At first, the men were angry with Roma, but they realized that they were in the ideal place to settle. They named the settlement after the woman who torched their ships, the Roman poet Virgil recounted this legend in his classical epic poem the Aeneid
Ancient Rome
–
Senātus Populus que Rōmānus
Ancient Rome
–
Roman Republic
Ancient Rome
–
According to legend,
Rome was founded in 753 BC by
Romulus and Remus, who were raised by a she-wolf.
Ancient Rome
–
This bust from the
Capitoline Museums is traditionally identified as a portrait of
Lucius Junius Brutus.
20.
Roman mythology
–
Roman mythology is the body of traditional stories pertaining to ancient Romes legendary origins and religious system, as represented in the literature and visual arts of the Romans. Roman mythology may also refer to the study of these representations. The Romans usually treated their traditional narratives as historical, even when these have miraculous or supernatural elements, the stories are often concerned with politics and morality, and how an individuals personal integrity relates to his or her responsibility to the community or Roman state. When the stories illuminate Roman religious practices, they are concerned with ritual, augury. Romes early myths and legends also have a relationship with Etruscan religion. In particular, the versions of Greek myths in Ovids Metamorphoses, written during the reign of Augustus, because ritual played the central role in Roman religion that myth did for the Greeks, it is sometimes doubted that the Romans had much of a native mythology. This perception is a product of Romanticism and the scholarship of the 19th century. From the Renaissance to the 18th century, however, Roman myths were an inspiration particularly for European painting, the Roman tradition is rich in historical myths, or legends, concerning the foundation and rise of the city. These narratives focus on human actors, with only occasional intervention from deities, in Romes earliest period, history and myth have a mutual and complementary relationship. As T. P. Wiseman notes, The Roman stories still matter, as they mattered to Dante in 1300 and Shakespeare in 1600, what does it take to be a free citizen. Can a superpower still be a republic, how does well-meaning authority turn into murderous tyranny. Major sources for Roman myth include the Aeneid of Vergil and the first few books of Livys history as well as Dionysius s Roman Antiquities. Other important sources are the Fasti of Ovid, a six-book poem structured by the Roman religious calendar, scenes from Roman myth also appear in Roman wall painting, coins, and sculpture, particularly reliefs. The Aeneid and Livys early history are the best extant sources for Romes founding myths, material from Greek heroic legend was grafted onto this native stock at an early date. By extension, the Trojans were adopted as the ancestors of the Roman people. Rape of the Sabine women, explaining the importance of the Sabines in the formation of Roman culture, numa Pompilius, the Sabine second king of Rome who consorted with the nymph Egeria and established many of Romes legal and religious institutions. Servius Tullius, the king of Rome, whose mysterious origins were freely mythologized. The Tarpeian Rock, and why it was used for the execution of traitors, lucretia, whose self-sacrifice prompted the overthrow of the early Roman monarchy and led to the establishment of the Republic
Roman mythology
–
Romulus and Remus, the
Lupercal,
Father Tiber, and the
Palatine on a
relief from a pedestal dating to the reign of
Trajan (AD 98–117)
Roman mythology
–
In this wall painting from
Pompeii,
Venus looks on while the physician
Iapyx tends to the wound of her son,
Aeneas; the tearful boy is her grandson
Ascanius, also known as Iulus, legendary ancestor [
citation needed] of
Julius Caesar and the
Julio-Claudian dynasty
Roman mythology
–
Mucius Scaevola in the Presence of Lars Porsenna (early 1640s) by
Matthias Stom
Roman mythology
–
Capitoline Triad
21.
South Kensington
–
South Kensington is an affluent district of West London in the Royal Borough of Kensington and Chelsea and the City of Westminster. It is a built-up area 2.4 miles west- south-west of Charing Cross and it is hard to define boundaries for South Kensington, but a common definition is the commercial area around the South Kensington tube station and the adjacent garden squares and streets. Although the postcode SW7 mainly covers South Kensington, some parts of Knightsbridge are also covered, neighbouring the equally affluent centres of Knightsbridge, Chelsea and Kensington, South Kensington covers some of the most exclusive real estate in the world. It is home to numbers of French expatriates, but also Spanish, Italian, American. There are several French bookshops and cafes in the area and is sometimes referred to as Paris’s 21st arrondissement. Two London Underground stations are located in South Kensington, South Kensington, the area was largely undeveloped until the mid-19th century, being an agricultural area supplying London with fruit and vegetables. The area is the subject of Donovans song Sunny South Kensington, Kensington, California was given that name in 1911 by Robert Brousefield, an American surveyor who at an ealier time lived in the British South Kensington. Notable residents have included, Sir Henry Cole, campaigner, educator and first director of the South Kensington Museum, charles Booth, pioneer of social research, lived at 6 Grenville Place. George Wallis, FSA, artist, museum curator and art educator and his children, including Whitworth Wallis and Rosa Wallis. Sir Herbert Beerbohm Tree, actor-manager, lived at 31 Rosary Gardens. Sir J M Barrie, playwright and novelist, author of Peter Pan, virginia Woolf, writer, and her sister Vanessa Bell, painter and interior designer, lived at 22 Hyde Park Gate until 1904. Francis Bacon, Irish-born British artist, lived at 17 Queensberry Mews and 7 Reese Mews, benny Hill, comedian, lived at 1 &2 Queens Gate. Nicholas Freeman, OBE, controversial Leader of the Royal Borough of Kensington and Chelsea, lived in Harrington Gardens, dennis Gabor, electrical engineer and physicist, most notable for inventing holography,1971 Nobel Prize in Physics. Peter Finch, English-born distinguished Australian actor, won 5 BAFTA acting awards and he was the first person to win a posthumous Academy Award in an acting category
South Kensington
–
Imperial College, South Kensington, London
South Kensington
–
The
Natural History Museum
South Kensington
–
The Queen's Tower,
Imperial College
22.
Victoria and Albert Museum
–
The Victoria and Albert Museum, London, is the worlds largest museum of decorative arts and design, housing a permanent collection of over 4.5 million objects. It was founded in 1852 and named after Queen Victoria and Prince Albert and these include the Natural History Museum, the Science Museum and the Royal Albert Hall. The museum is a public body sponsored by the Department for Culture, Media. Like other national British museums, entrance to the museum has been free since 2001, the V&A covers 12.5 acres and 145 galleries. Its collection spans 5,000 years of art, from ancient times to the present day, from the cultures of Europe, North America, Asia and North Africa. The museum owns the worlds largest collection of sculpture, with the holdings of Italian Renaissance items being the largest outside Italy. The departments of Asia include art from South Asia, China, Japan, Korea, the East Asian collections are among the best in Europe, with particular strengths in ceramics and metalwork, while the Islamic collection is amongst the largest in the Western world. Overall, it is one of the largest museums in the world, New 17th- and 18th-century European galleries were opened on 9 December 2015. These restored the original Aston Webb interiors and host the European collections 1600–1815, at this stage the collections covered both applied art and science. Several of the exhibits from the Exhibition were purchased to form the nucleus of the collection, by February 1854 discussions were underway to transfer the museum to the current site and it was renamed South Kensington Museum. In 1855 the German architect Gottfried Semper, at the request of Cole, produced a design for the museum, but it was rejected by the Board of Trade as too expensive. The site was occupied by Brompton Park House, this was extended including the first refreshment rooms opened in 1857, the official opening by Queen Victoria was on 22 June 1857. In the following year, late night openings were introduced, made possible by the use of gas lighting, in these early years the practical use of the collection was very much emphasised as opposed to that of High Art at the National Gallery and scholarship at the British Museum. George Wallis, the first Keeper of Fine Art Collection, passionately promoted the idea of art education through the museum collections. From the 1860s to the 1880s the scientific collections had been moved from the museum site to various improvised galleries to the west of Exhibition Road. In 1893 the Science Museum had effectively come into existence when a director was appointed. The laying of the stone of the Aston Webb building on 17 May 1899 was the last official public appearance by Queen Victoria. It was during this ceremony that the change of name from the South Kensington Museum to the Victoria, the exhibition which the museum organised to celebrate the centennial of the 1899 renaming, A Grand Design, first toured in North America from 1997, returning to London in 1999
Victoria and Albert Museum
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Entrance to the Victoria and Albert Museum
Victoria and Albert Museum
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In 2000,
an 11 metre high, blown glass chandelier by
Dale Chihuly was installed as a focal point in the rotunda at the V&A's main entrance.
Victoria and Albert Museum
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Henry Cole, the museum's first director
Victoria and Albert Museum
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Frieze detail from internal courtyard showing Queen Victoria in front of the 1851 Great Exhibition.
23.
British Museum
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The British Museum is dedicated to human history, art and culture, and is located in the Bloomsbury area of London. The British Museum was established in 1753, largely based on the collections of the physician, the museum first opened to the public on 15 January 1759, in Montagu House, on the site of the current building. Although today principally a museum of art objects and antiquities. Its foundations lie in the will of the Irish-born British physician, on 7 June 1753, King George II gave his formal assent to the Act of Parliament which established the British Museum. They were joined in 1757 by the Old Royal Library, now the Royal manuscripts, together these four foundation collections included many of the most treasured books now in the British Library including the Lindisfarne Gospels and the sole surviving copy of Beowulf. The British Museum was the first of a new kind of museum – national, belonging to neither church nor king, freely open to the public, sloanes collection, while including a vast miscellany of objects, tended to reflect his scientific interests. The addition of the Cotton and Harley manuscripts introduced a literary, the body of trustees decided on a converted 17th-century mansion, Montagu House, as a location for the museum, which it bought from the Montagu family for £20,000. The Trustees rejected Buckingham House, on the now occupied by Buckingham Palace, on the grounds of cost. With the acquisition of Montagu House the first exhibition galleries and reading room for scholars opened on 15 January 1759. During the few years after its foundation the British Museum received several gifts, including the Thomason Collection of Civil War Tracts. A list of donations to the Museum, dated 31 January 1784, in the early 19th century the foundations for the extensive collection of sculpture began to be laid and Greek, Roman and Egyptian artefacts dominated the antiquities displays. Gifts and purchases from Henry Salt, British consul general in Egypt, beginning with the Colossal bust of Ramesses II in 1818, many Greek sculptures followed, notably the first purpose-built exhibition space, the Charles Towneley collection, much of it Roman Sculpture, in 1805. In 1816 these masterpieces of art, were acquired by The British Museum by Act of Parliament. The collections were supplemented by the Bassae frieze from Phigaleia, Greece in 1815, the Ancient Near Eastern collection also had its beginnings in 1825 with the purchase of Assyrian and Babylonian antiquities from the widow of Claudius James Rich. The neoclassical architect, Sir Robert Smirke, was asked to draw up plans for an extension to the Museum. For the reception of the Royal Library, and a Picture Gallery over it, and put forward plans for todays quadrangular building, much of which can be seen today. The dilapidated Old Montagu House was demolished and work on the Kings Library Gallery began in 1823, the extension, the East Wing, was completed by 1831. The Museum became a site as Sir Robert Smirkes grand neo-classical building gradually arose
British Museum
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British Museum
British Museum
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The centre of the museum was redeveloped in 2001 to become the
Great Court, surrounding the original
Reading Room.
British Museum
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Sir
Hans Sloane
British Museum
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Montagu House, c. 1715
24.
National Gallery (London)
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The National Gallery is an art museum in Trafalgar Square in the City of Westminster, in Central London. Founded in 1824, it houses a collection of over 2,300 paintings dating from the century to 1900. The Gallery is a charity, and a non-departmental public body of the Department for Culture, Media. Its collection belongs to the public of the United Kingdom and entry to the collection is free of charge. It is among the most visited art museums in the world, after the Musée du Louvre, the British Museum, unlike comparable museums in continental Europe, the National Gallery was not formed by nationalising an existing royal or princely art collection. It came into being when the British government bought 38 paintings from the heirs of John Julius Angerstein, after that initial purchase the Gallery was shaped mainly by its early directors, notably Sir Charles Lock Eastlake, and by private donations, which comprise two-thirds of the collection. It used to be claimed that this was one of the few national galleries that had all its works on permanent exhibition, the present building, the third to house the National Gallery, was designed by William Wilkins from 1832 to 1838. Only the façade onto Trafalgar Square remains essentially unchanged from this time, wilkinss building was often criticised for the perceived weaknesses of its design and for its lack of space, the latter problem led to the establishment of the Tate Gallery for British art in 1897. The Sainsbury Wing, an extension to the west by Robert Venturi, the current Director of the National Gallery is Gabriele Finaldi. The late 18th century saw the nationalisation of royal or princely art collections across mainland Europe, great Britain, however, did not emulate the continental model, and the British Royal Collection remains in the sovereigns possession today. In 1777 the British government had the opportunity to buy an art collection of international stature, the MP John Wilkes argued for the government to buy this invaluable treasure and suggested that it be housed in a noble gallery. The twenty-five paintings from that now in the Gallery, including NG1, have arrived by a variety of routes. This offer was declined and Bourgeois bequeathed the collection to his old school, Dulwich College, the collection opened in Britains first purpose-built public gallery, the Dulwich Picture Gallery, in 1814. The British Institution, founded in 1805 by a group of aristocratic connoisseurs, the members lent works to exhibitions that changed annually, while an art school was held in the summer months. However, as the paintings that were lent were often mediocre, some resented the Institution. One of the Institutions founding members, Sir George Beaumont, Bt, in 1823 another major art collection came on the market, which had been assembled by the recently deceased John Julius Angerstein. Angerstein was a Russian-born émigré banker based in London, his collection numbered 38 paintings, including works by Raphael, on 1 July 1823 George Agar Ellis, a Whig politician, proposed to the House of Commons that it purchase the collection. The appeal was given added impetus by Beaumonts offer, which came with two conditions, that the government buy Angersteins collection, and that a building was to be found
National Gallery (London)
National Gallery (London)
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Location within Central London
National Gallery (London)
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The Raising of Lazarus by
Sebastiano del Piombo, from the collection of
John Julius Angerstein. This became the founding collection of the National Gallery in 1824. The painting has the
accession number NG1, making it officially the first painting to enter the Gallery.
National Gallery (London)
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100
Pall Mall, the home of the National Gallery from 1824 to 1834.
25.
Lawrence Alma-Tadema
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Sir Lawrence Alma-Tadema, OM, RA was a Dutch painter of special British denizenship. Born in Dronrijp, the Netherlands, and trained at the Royal Academy of Antwerp, Belgium, he settled in England in 1870, Lourens Alma Tadema was born on 8 January 1836 in the village of Dronrijp in the province of Friesland in the north of the Netherlands. The surname Tadema is an old Frisian patronymic, meaning son of Tade, while the names Lourens and he was the sixth child of Pieter Jiltes Tadema, the village notary, and the third child of Hinke Dirks Brouwer. His father had three sons from a previous marriage and his parents first child died young, and the second was Atje, Lourens sister, for whom he had great affection. The Tadema family moved in 1838 to the city of Leeuwarden. His father died when Lourens was four, leaving his mother with five children, Lourens, his sister and his mother had artistic leanings, and decided that drawing lessons should be incorporated into the childrens education. He received his first art training with a drawing master hired to teach his older half-brothers. It was intended that the boy would become a lawyer, diagnosed as consumptive and given only a short time to live, he was allowed to spend his remaining days at his leisure, drawing and painting. Left to his own devices he regained his health and decided to pursue a career as an artist, in 1852 he entered the Royal Academy of Antwerp in Belgium where he studied early Dutch and Flemish art, under Gustaf Wappers. During Alma-Tademas four years as a student at the Academy. Although de Taeye was not a painter, Alma-Tadema respected him and became his studio assistant. De Taeye introduced him to books that influenced his desire to portray Merovingian subjects early in his career and he was encouraged to depict historical accuracy in his paintings, a trait for which the artist became known. Under his guidance Alma-Tadema painted his first major work, The Education of the children of Clovis and this painting created a sensation among critics and artists when it was exhibited that year at the Artistic Congress in Antwerp. It is said to have laid the foundation of his fame, Alma-Tadema related that although Leys thought the completed painting better than he had expected, he was critical of the treatment of marble, which he compared to cheese. Alma-Tadema took this very seriously, and it led him to improve his technique and to become the worlds foremost painter of marble. Merovingian themes were the favourite subject up to the mid-1860s. It is perhaps in this series that we find the artist moved by the deepest feeling, however Merovingian subjects did not have a wide international appeal, so he switched to themes of life in ancient Egypt that were more popular. On these scenes of Frankish and Egyptian life Alma-Tadema spent great energy, in 1862 Alma-Tadema left Leyss studio and started his own career, establishing himself as a significant classical-subject European artist
Lawrence Alma-Tadema
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Sir Lawrence Alma-Tadema
Lawrence Alma-Tadema
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Lourens Alma Tadema's birth house and statue in
Dronrijp,
Netherlands
Lawrence Alma-Tadema
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The Education of the Children of Clovis (1861), oil on canvas, 127 x 176.8 cm,
private collection. Queen
Clotilde, wife of King
Clovis, is shown training her three young children the art of hurling the ax to avenge the death of her father.
Lawrence Alma-Tadema
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Egyptian
Chess Players (1865), oil on wood, 39.8 x 55.8 cm. Private collection.
26.
Frederic Leighton, 1st Baron Leighton
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Frederic Leighton, 1st Baron Leighton PRA, known as Sir Frederic Leighton between 1878 and 1896, was an English painter and sculptor. His works depicted historical, biblical, and classical subject matter, Leighton was bearer of the shortest-lived peerage in history, after only one day his hereditary peerage ended with his death. Leighton was born in Scarborough to a family in the import and export business and he was educated at University College School, London. He then received his training on the European continent, first from Eduard von Steinle. When he was 24 he was in Florence, he studied at the Accademia di Belle Arti, from 1855 to 1859 he lived in Paris, where he met Ingres, Delacroix, Corot and Millet. In 1860, he moved to London, where he associated with the Pre-Raphaelites and he designed Elizabeth Barrett Brownings tomb for Robert Browning in the English Cemetery, Florence in 1861. In 1864 he became an associate of the Royal Academy and in 1878 he became its President and his 1877 sculpture, Athlete Wrestling with a Python, was considered at its time to inaugurate a renaissance in contemporary British sculpture, referred to as the New Sculpture. American art critic Earl Shinn claimed at the time that Except Leighton and his paintings represented Britain at the great 1900 Paris Exhibition. Leighton was knighted at Windsor in 1878, and was created a baronet, of Holland Park Road in the Parish of St Mary Abbots, Kensington, in the County of Middlesex, eight years later. He was the first painter to be given a peerage, in the New Year Honours List of 1896, the patent creating him Baron Leighton, of Stretton in the County of Shropshire, was issued on 24 January 1896, Leighton died the next day of angina pectoris. Leighton remained a bachelor and rumours of his having a child with one of his models in addition to the supposition that Leighton may have been homosexual continue to be debated today. He certainly enjoyed an intense and romantically tinged relationship with the poet Henry William Greville whom he met in Florence in 1856, the older man showered Leighton in letters, but the romantic affection seems not to have been reciprocated. Enquiry is furthermore hindered by the fact that Leighton left no diaries, after his death his Barony was extinguished after existing for only a day, this is a record in the Peerage. His house in Holland Park, London has been turned into a museum, the house also features many of Leightons inspirations, including his collection of Iznik tiles. Its centrepiece is the magnificent Arab Hall, the Hall is featured in issue ten of Cornucopia. A blue plaque commemorates Leighton at Leighton House Museum, Leighton was an enthusiastic volunteer soldier, enrolling with the first group to join the 38th Middlesex Rifle volunteers on 5 October 1860. His qualities of leadership were identified, and he was promoted to command A Company within a few months. On 6 January 1869 Captain Leighton was elected to command The Artists Rifles by a meeting of the corps
Frederic Leighton, 1st Baron Leighton
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Self portrait of Leighton (1880)
Frederic Leighton, 1st Baron Leighton
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Flaming June (1895;
Museo de Arte de Ponce).
Frederic Leighton, 1st Baron Leighton
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Sir Frederick Leighton by
George Frederic Watts
Frederic Leighton, 1st Baron Leighton
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Sir Frederick Leighton, later in his career.
27.
Dudley Museum and Art Gallery
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Dudley Museum and Art Gallery was a public museum and art gallery located in the town centre of Dudley in the West Midlands, England. It was opened in 1883, situated within buildings on St Jamess Road, the two geology exhibits are Dudley Unearthed and Fantastic Fossils. Fossils formed by the eruption of the volcano around 315 million years ago are also on display, return of the Dinosaurs opened in 2007 and was distinguished by several large models of various species of dinosaurs, including Baryonyx and one of the earliest dinosaurs, Thecodontosaurus. In 1911, local MP Brooke Robinson bequeathed his collection of paintings, furniture, ceramics, there were plans to introduce other local sporting heroes. The museum also held a collection of fine art, including oil paintings, watercolours, engravings and prints. Among these were works by local artist Percy Shakespeare, the Museum and Art Gallery was closed by its owner Dudley Council on 22 December 2016 in order to save money. Dudley MBC, Dudley Museum & Art Gallery
Dudley Museum and Art Gallery
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Dudley Museum and Art Gallery
Dudley Museum and Art Gallery
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Cowries in the 'Dudley Unearthed' exhibit.
Dudley Museum and Art Gallery
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Bilston enamels in the Brooke Robinson room.
Dudley Museum and Art Gallery
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The Duncan Edwards and Local heroes room.
28.
Royal Academy summer exhibition
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The Summer Exhibition is an open art exhibition held annually by the Royal Academy in Burlington House, Piccadilly in central London, England, during the summer months of June, July, and August. The exhibition includes paintings, prints, drawings, sculpture, architectural designs and models, when the Royal Academy was founded in 1768 one of its key objectives was to establish an annual exhibition, open to all artists of merit, which could be visited by the public. The first Summer Exhibition took place in 1769, it has held every year since without exception. Today, around 1,000 works are selected each year from as many as 10,000 entries representing some 5,000 artists, any artist may submit up to two works at a fee of £25 per piece for selection by The Summer Exhibition Selection and Hanging Committee. Due to the significant increase in the volume of entries over recent years, the number of entries per artist was reduced to 2, the committee is formed from the Council of Academicians and is traditionally chaired by the President of the Royal Academy. In addition to those selected by the committee, all 80 Academicians are entitled to have six of their own pieces in the exhibition. The 2005 exhibition theme was Printmaking and the multiple, in 2006, the theme was From Life. In 2008, the theme was Man Made, the theme for 2010 was Raw. In 2011, the committee agreed to have no specific theme. For the 2006 exhibition, the received a statue and a plinth from David Hensel. By mistake, the two parts were judged independently, with the result that the statue was rejected and the put on display. The RA Summer Exhibition usually opens to the public in early June, the main event is called Varnishing Day, the day that, according to popular legend, artists would come to add a final coat of varnish to their paintings. Traditionally, artists walk in procession from Burlington House to St Jamess Church, Piccadilly, at the opening reception the shortlists for various prizes are announced. Over £70,000 prize money, including the £25,000 Charles Wollaston Award, is awarded each year at the Summer Exhibition, in addition, a £10.000 architectural prize is awarded. Almost all exhibited works are for sale, the Academy receives 30% of the purchase price, in 2003, this amounted to a sum of some £2,000,000 for the institution, which receives no financial support from the state or crown. The Royal Academy revisited, Victorian paintings from the Forbes magazine Collection, new York, The Metropolitan Museum of Art
Royal Academy summer exhibition
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Royal Academy during the 2004 Summer Exhibition
Royal Academy summer exhibition
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A Private View at the Royal Academy, 1881 by
William Powell Frith, depicting
Oscar Wilde and other Victorian worthies at a
private view of the 1881 exhibition
Royal Academy summer exhibition
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Participants in the RA Summer Exhibition 2015 at St. James, Piccadilly, on Varnishing Day
Royal Academy summer exhibition
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View of one of the main rooms, June 2015
29.
Ealing
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Ealing is a major suburban district of west London, England and the administrative centre of the London Borough of Ealing. It is one of the metropolitan centres identified in the London Plan. It was historically a village in the county of Middlesex. Improvement in communications with London, culminating with the opening of the station in 1838. As part of the growth of London in the 20th century, Ealing significantly expanded and increased in population and it now forms a significant commercial and retail centre with a developed night time economy. Ealing has the characteristics of both suburban and inner-city developments, Ealings town centre is often colloquial with Ealing Broadway, the name of both a rail interchange & a shopping centre. Most of Ealing, including the district, South Ealing, Ealing Common, Montpelier, Pitshanger. Areas to the north-west of the centre such as Argyle Road. A small section north-east of the centre, near Hanger Hill. The population of Ealing, comprising the Ealing Broadway, Ealing Common, Cleveland, Walpole, the area of Hanwell is strongly associated with Ealing, however, it is a separate district with its own postcode. Northfields on the hand, despite sharing postcodes with Ealing is generally considered to be a separate area in its own right. The Saxon name for Ealing was recorded c.700 as Gillingas, meaning place of the associated with Gilla, from the personal name Gilla. Over the centuries, the name has changed, and has known as Illing,1130, Gilling,1243. Archaeological evidence shows that parts of Ealing have been occupied for more than 7,000 years Iron Age pots have been discovered in the vicinity on Horsenden Hill. A settlement is recorded here in the 12th century amid a great forest that carpeted the area to the west of London, the earliest surviving English census is that for Ealing in 1599. This list was a tally of all 85 households in Ealing village giving the names of the inhabitants, together with their ages, relationships and occupations. It survives in form at The National Archives, and was transcribed and printed by K J Allison for the Ealing Historical Society in 1961. Settlements were scattered throughout the parish, many of them were along what is now called St. Marys Road, near to the church in the centre of the parish
Ealing
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Ealing Town Hall in Ealing Broadway
Ealing
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Perceval House
Ealing
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1895 lamp standard. Mount Park Road
Ealing
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Ealing Broadway in 2006
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