Virtual International Authority File
The Virtual International Authority File is an international authority file. It is a joint project of several national libraries and operated by the Online Computer Library Center. Discussion about having a common international authority started in the late 1990s. After a series of failed attempts to come up with a unique common authority file, the new idea was to link existing national authorities; this would present all the benefits of a common file without requiring a large investment of time and expense in the process. The project was initiated by the US Library of Congress, the German National Library and the OCLC on August 6, 2003; the Bibliothèque nationale de France joined the project on October 5, 2007. The project transitioned to being a service of the OCLC on April 4, 2012; the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together. A VIAF record receives a standard data number, contains the primary "see" and "see also" records from the original records, refers to the original authority records.
The data are available for research and data exchange and sharing. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol; the file numbers are being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAF's clustering algorithm is run every month; as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records. Authority control Faceted Application of Subject Terminology Integrated Authority File International Standard Authority Data Number International Standard Name Identifier Wikipedia's authority control template for articles Official website VIAF at OCLC
The Salon, or Paris Salon, beginning in 1667 was the official art exhibition of the Académie des Beaux-Arts in Paris. Between 1748 and 1890 it was arguably the greatest annual or biennial art event in the Western world. At the 1761 Salon, thirty-three painters, nine sculptors, eleven engravers contributed. From 1881 onward, it has been managed by the Société des Artistes Français. In 1667, the royally sanctioned French institution of art patronage, the Académie royale de peinture et de sculpture, held its first semi-public art exhibit at the Salon Carré; the Salon's original focus was the display of the work of recent graduates of the École des Beaux-Arts, created by Cardinal Mazarin, chief minister of France, in 1648. Exhibition at the Salon de Paris was essential for any artist to achieve success in France for at least the next 200 years. Exhibition in the Salon marked a sign of royal favor. In 1725, the Salon was held in the Palace of the Louvre, when it became known as Salon or Salon de Paris.
In 1737, the exhibitions, held from 18 August 1737 to 5 September 1737 at the Grand Salon of the Louvre, became public. They were held, at first and biennially, in odd-numbered years, they would run for some weeks. Once made regular and public, the Salon's status was "never in doubt". In 1748 a jury of awarded artists was introduced. From this time forward, the influence of the Salon was undisputed; the Salon exhibited paintings floor-to-ceiling and on every available inch of space. The jostling of artwork became the subject of many other paintings, including Pietro Antonio Martini's Salon of 1785. Printed catalogues of the Salons are primary documents for art historians. Critical descriptions of the exhibitions published in the gazettes mark the beginning of the modern occupation of art critic; the French revolution opened the exhibition to foreign artists. In the 19th century the idea of a public Salon extended to an annual government-sponsored juried exhibition of new painting and sculpture, held in large commercial halls, to which the ticket-bearing public was invited.
The vernissage of opening night was a grand social occasion, a crush that gave subject matter to newspaper caricaturists like Honoré Daumier. Charles Baudelaire, Denis Diderot and others wrote reviews of the Salons; the 1848 revolution liberalized the Salon. The amount of refused works was reduced. In 1849 medals were introduced; the conservative and academic juries were not receptive to the Impressionist painters, whose works were rejected, or poorly placed if accepted. The Salon opposed the Impressionists' shift away from traditional painting styles. In 1857 the Salon jury turned away an unusually high number of the submitted paintings. An uproar resulted from regular exhibitors, rejected. In order to prove that the Salons were democratic, Napoleon III instituted the Salon des Refusés, containing a selection of the works that the Salon had rejected that year, it opened on 17 May 1863. The Impressionists held their own independent exhibitions in 1874, 1876, 1877, 1879, 1880, 1881, 1882 and 1886.
In 1881, the government withdrew official sponsorship from the annual Salon, a group of artists organized the Société des Artistes Français to take responsibility for the show. In December 1890, the leader of the Société des Artistes Français, William-Adolphe Bouguereau, propagated the idea that Salon should be an exhibition of young, not-yet awarded, artists. Ernest Meissonier, Puvis de Chavannes, Auguste Rodin and others rejected this proposal and made a secession, they created the Société Nationale des Beaux-Arts and its own exhibition referred to in the press as the Salon du Champ de Mars or the Salon de la Société Nationale des Beaux–Arts. In 1903, in response to what many artists at the time felt was a bureaucratic and conservative organization, a group of painters and sculptors led by Pierre-Auguste Renoir and Auguste Rodin organized the Salon d'Automne. J. J. Marquet de Vasselot: Répertoire des catalogues du musée du Louvre, 1793–1917 Thomas Crow: Painters and Public Life in 18th Century Paris.
Yale University Press 1987 Patricia Mainardi: The End of the Salon: Art and the State in the Early Third Republic, Cambridge University Press, 1993. Fae Brauer and Conspirators: The Paris Salons and the Modern Art Centre, Newcastle upon Tyne, Cambridge Scholars, 2013. Albert Boime, "The Salon des Refuses and the Evolution of Modern Art," Art Quarterly 32: 41 1-26 Margo Bistis, "Bad Art: The Decline of Academic Art in the Caricatural Salon," International Journal of Comic Art 7, no.1. Timeline of the Paris Salons Harriet Griffiths and Alister Mill, Database of Salon Artists, 1827-1850
Integrated Authority File
The Integrated Authority File or GND is an international authority file for the organisation of personal names, subject headings and corporate bodies from catalogues. It is used for documentation in libraries and also by archives and museums; the GND is managed by the German National Library in cooperation with various regional library networks in German-speaking Europe and other partners. The GND falls under the Creative Commons Zero licence; the GND specification provides a hierarchy of high-level entities and sub-classes, useful in library classification, an approach to unambiguous identification of single elements. It comprises an ontology intended for knowledge representation in the semantic web, available in the RDF format; the Integrated Authority File became operational in April 2012 and integrates the content of the following authority files, which have since been discontinued: Name Authority File Corporate Bodies Authority File Subject Headings Authority File Uniform Title File of the Deutsches Musikarchiv At the time of its introduction on 5 April 2012, the GND held 9,493,860 files, including 2,650,000 personalised names.
There are seven main types of GND entities: LIBRIS Virtual International Authority File Information pages about the GND from the German National Library Search via OGND Bereitstellung des ersten GND-Grundbestandes DNB, 19 April 2012 From Authority Control to Linked Authority Data Presentation given by Reinhold Heuvelmann to the ALA MARC Formats Interest Group, June 2012
Paris is the capital and most populous city of France, with an area of 105 square kilometres and an official estimated population of 2,140,526 residents as of 1 January 2019. Since the 17th century, Paris has been one of Europe's major centres of finance, commerce, fashion and the arts; the City of Paris is the centre and seat of government of the Île-de-France, or Paris Region, which has an estimated official 2019 population of 12,213,364, or about 18 percent of the population of France. The Paris Region had a GDP of €681 billion in 2016, accounting for 31 percent of the GDP of France, was the 5th largest region by GDP in the world. According to the Economist Intelligence Unit Worldwide Cost of Living Survey in 2018, Paris was the second most expensive city in the world, after Singapore, ahead of Zurich, Hong Kong and Geneva. Another source ranked Paris as most expensive, on a par with Singapore and Hong-Kong, in 2018; the city is a major rail and air-transport hub served by two international airports: Paris-Charles de Gaulle and Paris-Orly.
Opened in 1900, the city's subway system, the Paris Métro, serves 5.23 million passengers daily, is the second busiest metro system in Europe after Moscow Metro. Gare du Nord is the 24th busiest railway station in the world, the first located outside Japan, with 262 million passengers in 2015. Paris is known for its museums and architectural landmarks: the Louvre was the most visited art museum in the world in 2018, with 10.2 million visitors. The Musée d'Orsay and Musée de l'Orangerie are noted for their collections of French Impressionist art, the Pompidou Centre Musée National d'Art Moderne has the largest collection of modern and contemporary art in Europe; the historical district along the Seine in the city centre is classified as a UNESCO Heritage Site. Popular landmarks in the centre of the city include the Cathedral of Notre Dame de Paris and the Gothic royal chapel of Sainte-Chapelle, both on the Île de la Cité. Paris received 23 million visitors in 2017, measured by hotel stays, with the largest numbers of foreign visitors coming from the United States, the UK, Germany and China.
It was ranked as the third most visited travel destination in the world in 2017, after Bangkok and London. The football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris; the 80,000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros. Paris will host the 2024 Summer Olympics; the 1938 and 1998 FIFA World Cups, the 2007 Rugby World Cup, the 1960, 1984, 2016 UEFA European Championships were held in the city and, every July, the Tour de France bicycle race finishes there. The name "Paris" is derived from the Celtic Parisii tribe; the city's name is not related to the Paris of Greek mythology. Paris is referred to as the City of Light, both because of its leading role during the Age of Enlightenment and more because Paris was one of the first large European cities to use gas street lighting on a grand scale on its boulevards and monuments.
Gas lights were installed on the Place du Carousel, Rue de Rivoli and Place Vendome in 1829. By 1857, the Grand boulevards were lit. By the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps. Since the late 19th century, Paris has been known as Panam in French slang. Inhabitants are known in French as Parisiens, they are pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the area's major north–south trade routes crossed the Seine on the île de la Cité; the Parisii minted their own coins for that purpose. The Romans began their settlement on Paris' Left Bank; the Roman town was called Lutetia. It became a prosperous city with a forum, temples, an amphitheatre. By the end of the Western Roman Empire, the town was known as Parisius, a Latin name that would become Paris in French. Christianity was introduced in the middle of the 3rd century AD by Saint Denis, the first Bishop of Paris: according to legend, when he refused to renounce his faith before the Roman occupiers, he was beheaded on the hill which became known as Mons Martyrum "Montmartre", from where he walked headless to the north of the city.
Clovis the Frank, the first king of the Merovingian dynasty, made the city his capital from 508. As the Frankish domination of Gaul began, there was a gradual immigration by the Franks to Paris and the Parisian Francien dialects were born. Fortification of the Île-de-la-Citie failed to avert sacking by Vikings in 845, but Paris' strategic importance—with its bridges prevent
Louis Philippe I
Louis Philippe I was King of the French from 1830 to 1848. His father Louis Philippe II, Duke of Orléans had taken the name "Philippe Égalité" because he supported the French Revolution. However, following the deposition and execution of his cousin King Louis XVI, Louis Philippe fled the country, his father denounced his actions and voted for his death, but was imprisoned and executed that same year. Louis Philippe spent the next 21 years in exile before returning during the Bourbon Restoration, he was proclaimed king in 1830 after his cousin Charles X was forced to abdicate by the July Revolution. The reign of Louis Philippe is known as the July Monarchy and was dominated by wealthy industrialists and bankers, he followed conservative policies under the influence of French statesman François Guizot during the period 1840–48. He promoted friendship with Britain and sponsored colonial expansion, notably the French conquest of Algeria, his popularity faded as economic conditions in France deteriorated in 1847, he was forced to abdicate after the outbreak of the French Revolution of 1848.
He lived out his life in exile in the United Kingdom. His supporters were known as Orléanists, as opposed to Legitimists who supported the main line of the House of Bourbon. Louis Philippe was born in the Palais Royal, the residence of the Orléans family in Paris, to Louis Philippe, Duke of Chartres, Louise Marie Adélaïde de Bourbon; as a member of the reigning House of Bourbon, he was a Prince of the Blood, which entitled him the use of the style "Serene Highness". His mother was an wealthy heiress, descended from Louis XIV of France through a legitimized line. Louis Philippe was the eldest of three sons and a daughter, a family, to have erratic fortunes from the beginning of the French Revolution to the Bourbon Restoration; the elder branch of the House of Bourbon, to which the kings of France belonged distrusted the intentions of the cadet branch, which would succeed to the throne of France should the senior branch die out. Louis Philippe's father was exiled from the royal court, the Orléans confined themselves to studies of the literature and sciences emerging from the Enlightenment.
Louis Philippe was tutored by the Countess of Genlis, beginning in 1782. She instilled in him a fondness for liberal thought; when Louis Philippe's grandfather died in 1785, his father succeeded him as Duke of Orléans and Louis Philippe succeeded his father as Duke of Chartres. In 1788, with the Revolution looming, the young Louis Philippe showed his liberal sympathies when he helped break down the door of a prison cell in Mont Saint-Michel, during a visit there with the Countess of Genlis. From October 1788 to October 1789, the Palais Royal was a meeting-place for the revolutionaries. Louis Philippe grew up in a period that changed Europe as a whole and, following his father's strong support for the Revolution, he involved himself in those changes. In his diary, he reports that he himself took the initiative to join the Jacobin Club, a move that his father supported. In June 1791, Louis Philippe got his first opportunity to become involved in the affairs of France. In 1785, he had been given the hereditary appointment of Colonel of the Chartres Dragoons.
With war imminent in 1791, all proprietary colonels were ordered to join their regiments. Louis Philippe showed himself to be a model officer, he demonstrated his personal bravery in two famous instances. First, three days after Louis XVI's flight to Varennes, a quarrel between two local priests and one of the new constitutional vicars became heated, a crowd surrounded the inn where the priests were staying, demanding blood; the young colonel broke through the crowd and extricated the two priests, who fled. At a river crossing on the same day, another crowd threatened to harm the priests. Louis Philippe put himself between a peasant armed with a carbine and the priests, saving their lives; the next day, Louis Philippe dove into a river to save a drowning local engineer. For this action, he received a civic crown from the local municipality, his regiment was moved north to Flanders at the end of 1791 after the August 27, 1791 Declaration of Pillnitz. Louis Philippe served under his father's crony, Armand Louis de Gontaut the Duke of Biron, along with several officers who gained distinction in Napoleon's empire and afterwards.
These included Lieutenant Colonel Alexandre de Beauharnais. After war was declared by the Kingdom of France on the Habsburg Monarchy on April 20, 1792, Louis Philippe saw his first exchanges of fire of the French Revolutionary Wars within the invaded by France Austrian Netherlands at Boussu, Walloon, on about April 28, 1792, at Quaregnon, Walloon, on about April 29, 1792, at Quiévrain, near Jemappes, Walloon, on about April 30, 1792, where he was instrumental in rallying a unit of retreating soldiers after the victorious Battle of Quiévrain only two days earlier on April 28th of 1792. Biron wrote to War Minister de Grave, praising the young colonel, promoted to brigadier, commanding a brigade of cavalry in Lückner's Army of the North. In the Army of the North, Louis Philippe served with four future Marshals of France: Macdonald, Mortier and Oudinot. Dumouriez was appointed to command the Army of the North in August 1792. Louis Philippe commanded a division under him in the Valmy campaign. At the September 20, 1792 Battle of Va
Legion of Honour
The Legion of Honour is the highest French order of merit for military and civil merits, established in 1802 by Napoleon Bonaparte and retained by all French governments and régimes. The order's motto is Honneur et Patrie, its seat is the Palais de la Légion d'Honneur next to the Musée d'Orsay, on the left bank of the Seine in Paris; the order is divided into five degrees of increasing distinction: Chevalier, Commandeur, Grand officier, Grand-croix. During the French Revolution, all of the French orders of chivalry were abolished, replaced with Weapons of Honour, it was the wish of Napoleon Bonaparte, the First Consul, to create a reward to commend civilians and soldiers. From this wish was instituted a Légion d'honneur, a body of men, not an order of chivalry, for Napoleon believed that France wanted a recognition of merit rather than a new system of nobility. However, the Légion d'honneur did use the organization of the old French orders of chivalry, for example the Ordre de Saint-Louis; the insignia of the Légion d'honneur bear a resemblance to those of the Ordre de Saint-Louis, which used a red ribbon.
Napoleon created this award to ensure political loyalty. The organization would be used as a façade to give political favours and concessions; the Légion d'honneur was loosely patterned after a Roman legion, with legionaries, commanders, regional "cohorts" and a grand council. The highest rank was not a Grand Cross but a Grand aigle, a rank that wore the insignia common to a Grand Cross; the members were paid, the highest of them generously: 5,000 francs to a grand officier, 2,000 francs to a commandeur, 1,000 francs to an officier, 250 francs to a légionnaire. Napoleon famously declared, "You call these baubles, well, it is with baubles that men are led... Do you think that you would be able to make men fight by reasoning? Never; that is good only for the scholar in his study. The soldier needs glory, rewards." This has been quoted as "It is with such baubles that men are led." The order was the first modern order of merit. Under the monarchy, such orders were limited to Roman Catholics, all knights had to be noblemen.
The military decorations were the perks of the officers. The Légion d'honneur, was open to men of all ranks and professions—only merit or bravery counted; the new legionnaire had to be sworn into the Légion d'honneur. It is noteworthy that all previous orders were crosses or shared a clear Christian background, whereas the Légion d'honneur is a secular institution; the badge of the Légion d'honneur has five arms. In a decree issued on the 10 Pluviôse XIII, a grand decoration was instituted; this decoration, a cross on a large sash and a silver star with an eagle, symbol of the Napoleonic Empire, became known as the Grand aigle, in 1814 as the Grand cordon. After Napoleon crowned himself Emperor of the French in 1804 and established the Napoleonic nobility in 1808, award of the Légion d'honneur gave right to the title of "Knight of the Empire"; the title was made hereditary after three generations of grantees. Napoleon had dispensed 15 golden collars of the Légion d'honneur among his family and his senior ministers.
This collar was abolished in 1815. Although research is made difficult by the loss of the archives, it is known that three women who fought with the army were decorated with the order: Virginie Ghesquière, Marie-Jeanne Schelling and a nun, Sister Anne Biget; the Légion d'honneur was visible in the French Empire. The Emperor always wore it and the fashion of the time allowed for decorations to be worn most of the time; the king of Sweden therefore declined the order. Napoleon's own decorations were captured by the Prussians and were displayed in the Zeughaus in Berlin until 1945. Today, they are in Moscow. Louis XVIII changed the appearance of the order. To have done so would have angered the 35,000 to 38,000 members; the images of Napoleon and his eagle were removed and replaced by the image of King Henry IV, the popular first king of the Bourbon line. Three Bourbon fleurs-de-lys replaced the eagle on the reverse of the order. A king's crown replaced the imperial crown. In 1816, the grand cordons were renamed grand crosses and the legionnaires became knights.
The king decreed. The Légion d'honneur became the second-ranking order of knighthood of the French monarchy, after the Order of the Holy Spirit. Following the overthrow of the Bourbons in favour of King Louis Philippe I of the House of Orléans, the Bourbon monarchy's orders were once again abolished and the Légion d'honneur was restored in 1830 as the paramount decoration of the French nation; the insignia were drastically altered. In 1847, there were 47,000 members, yet another revolution in Paris brought a new design to the Légion d'honneur. A nephew of the founder, Louis-Napoléon Bonaparte, was elected president and he restored the image of his uncle on the crosses of the order. In 1852, the first recorded woman, Angélique Duchemin, an old revolutionary of the 1789 uprising against the absolute monarchy, was admitted into the order. On 2 December 1851, President Louis-Napoléon Bonaparte staged a coup d'état with the help of the armed forces, he made himself Emperor of the French one year on 2 December 1852, after a successful plebiscite.
An Imperial crown was added. During Napoleon III's reign, the first American was admitted
Antoine-Jean Gros, titled as Baron Gros in 1824, was a French painter. His work was in the genres of history and neoclassical painting. Gros studied under Jacques-Louis David in Paris and began an independent artistic career during the French Revolution. Forced to leave France, he witnessed the nearby Battle of Arcole. Inspired by an event during the battle, he produced a portrait of the French commander, Napoleon Bonaparte a newly promoted general; the portrait gained the patronage of Napoleon. After travelling with Napoleon's army for several years, he returned to Paris in 1799. Gros produced several large paintings of other events in Napoleon's life; these were in a neoclassical style, but Napoléon on the Battlefield of Eylau adopted a more realistic portrayal of the horrors of war. Gros painted portraits of officers in the French army and members of French high society. After the fall of Napoleon, he shifted his artistic focus and produced more history paintings, which art historians regard as less impressive than his earlier work.
Born in Paris, Gros began to learn to draw at the age of six from his father, Jean-Antoine Gros, a miniature painter, showed himself as a gifted artist. His mother, Pierrette-Madeleine-Cécile Durand, was a painter. Towards the close of 1785, Gros, by his own choice, entered the studio of Jacques-Louis David, which he frequented assiduously, continuing at the same time to follow the classes of the Collège Mazarin; the death of his father, whose circumstances had been embarrassed by the French Revolution, threw Gros upon his own resources in 1791. He now devoted himself wholly to his profession, he competed in 1792 for the grand prix. Around this time, however, on the recommendation of the École des Beaux Arts, he was employed on the execution of portraits of the members of the National Convention, but disturbed by the development of the Revolution, Gros left France in 1793 for Italy, he supported himself at Genoa by the same means, producing a great quantity of fixés. He visited Florence, but returned to Genoa where he made the acquaintance of Joséphine de Beauharnais.
He followed her to Milan, where he was well received by Napoleon Bonaparte. On 15 November 1796, Gros was present with the army near Arcola when Bonaparte planted the French tricolor on the bridge. Gros seized on this incident, showed by his treatment of it that he had found his vocation. Bonaparte at once gave him the post of inspecteur aux revues, which enabled him to follow the army, in 1797 nominated him to the commission charged with selecting the spoils which should enrich the Louvre. In 1799, having escaped from the besieged city of Genoa, Gros made his way to Paris, in the beginning of 1801 took up his quarters in the Capucins, his esquisse of the Battle of Nazareth gained the prize offered in 1802 by the consuls, but was not carried out, owing it is said to the jealousy of Jean-Andoche Junot felt by Napoleon. Les Pestiférés de Jaffa was followed by The Battle of Aboukir, 1806, The Battle of Eylau, 1808. According to the Encyclopædia Britannica Eleventh Edition, "these three subjects – the popular leader facing the pestilence unmoved, challenging the splendid instant of victory, heart-sick with the bitter cost of a hard-won field – gave Gros his chief title to fame."Britannica further remarks that as long as the military element remained bound up with French national life, Gros received from it a fresh and energetic inspiration which carried him to the heart of the events which he depicted.
Trained in the sect of the Classicists, he was shackled by their rules when by his naturalistic treatment of types, appeal to picturesque effect in color and tone, he seemed to run counter to them. At the Salon of 1804, Gros debuted his painting Bonaparte Visiting the Plague Victims of Jaffa; the painting launched his career as a successful painter. It depicts Bonaparte in Jaffa visiting soldiers infected with the bubonic plague, he is portrayed reaching out to one of the unfazed by the illness. While Bonaparte did visit the pesthouse as his army prepared to withdraw from Syria, he ordered the poisoning of about fifty of his plague-infected men; the painting was commissioned as damage control. The painting is in the neoclassical style, though it shows elements such as the lighting and a taste for the exotic that are precursors to the upcoming Romantic ideals. In 1810, his Madrid and Napoleon at the Pyramids show, his Francis I and Charles V, 1812, had considerable success, but the decoration of the dome of St. Genevieve is the only work of Gros's years which shows his early force and vigour, as well as his skill.
The "Departure of Louis XVIII", the Embarkation of Madame d'Angoulême, the plafond of the Egyptian room in the Louvre, his Hercules and Diomedes, exhibited in 1835, testify only that Gros's efforts – in accordance with the frequent counsels of his old master David – to stem the rising tide of Romanticism only damaged his once brilliant reputation. Again citing the 1911 Encyclopædia Britannica, "Exasperated by criti