1.
Man Ray
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Man Ray was an American visual artist who spent most of his career in France. He was a significant contributor to the Dada and Surrealist movements and he produced major works in a variety of media but considered himself a painter above all. He was best known for his photography, and he was a renowned fashion, Man Ray is also noted for his work with photograms, which he called rayographs in reference to himself. During his career as an artist, Man Ray allowed few details of his life or family background to be known to the public. He even refused to acknowledge that he ever had an other than Man Ray. Man Ray was born as Emmanuel Radnitzky in South Philadelphia, Pennsylvania and he was the eldest child of Russian Jewish immigrants. He had a brother and two sisters, the youngest born in 1897 shortly after settled in the Williamsburg neighborhood of Brooklyn. In early 1912, the Radnitzky family changed their surname to Ray, Man Rays brother chose the surname in reaction to the ethnic discrimination and antisemitism prevalent at the time. Emmanuel, who was called Manny as a nickname, changed his first name to Man, Man Rays father worked in a garment factory and ran a small tailoring business out of the family home. He enlisted his children to assist him from an early age, Man Rays mother enjoyed designing the familys clothes and inventing patchwork items from scraps of fabric. Man Ray wished to disassociate himself from his background. Mannequins, flat irons, sewing machines, needles, pins, threads, swatches of fabric, Art historians have noted similarities between Rays collage and painting techniques and styles used for tailoring. Mason Klein, curator of a Man Ray exhibition at the Jewish Museum, titled Alias Man Ray, The Art of Reinvention, Man Ray was the uncle of the photographer Naomi Savage, who learned some of his techniques and incorporated them into her own work. Man Ray displayed artistic and mechanical abilities during childhood and his education at Brooklyns Boys High School from 1904 to 1909 provided him with solid grounding in drafting and other basic art techniques. While he attended school, he educated himself with frequent visits to the art museums. After his graduation, Ray was offered a scholarship to study architecture, Man Rays parents were disappointed by their sons decision to pursue art, but they agreed to rearrange the familys modest living quarters so that Rays room could be his studio. The artist remained in the home over the next four years. During this time, he worked steadily towards becoming a professional painter, Man Ray earned money as a commercial artist and was a technical illustrator at several Manhattan companies
2.
Madrid
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Madrid is the capital city of the Kingdom of Spain and the largest municipality in both the Community of Madrid and Spain as a whole. The city has a population of almost 3.2 million with an area population of approximately 6.5 million. It is the third-largest city in the European Union after London and Berlin, the municipality itself covers an area of 604.3 km2. Madrid lies on the River Manzanares in the centre of both the country and the Community of Madrid, this community is bordered by the communities of Castile and León. As the capital city of Spain, seat of government, and residence of the Spanish monarch, Madrid is also the political, economic, the current mayor is Manuela Carmena from Ahora Madrid. Madrid is home to two football clubs, Real Madrid and Atlético de Madrid. Madrid is the 17th most liveable city in the according to Monocle magazine. Madrid organises fairs such as FITUR, ARCO, SIMO TCI, while Madrid possesses modern infrastructure, it has preserved the look and feel of many of its historic neighbourhoods and streets. Cibeles Palace and Fountain have become one of the monument symbols of the city, the first documented reference of the city originates in Andalusan times as the Arabic مجريط Majrīṭ, which was retained in Medieval Spanish as Magerit. A wider number of theories have been formulated on possible earlier origins, according to legend, Madrid was founded by Ocno Bianor and was named Metragirta or Mantua Carpetana. The most ancient recorded name of the city Magerit comes from the name of a built on the Manzanares River in the 9th century AD. Nevertheless, it is speculated that the origin of the current name of the city comes from the 2nd century BC. The Roman Empire established a settlement on the banks of the Manzanares river, the name of this first village was Matrice. In the 8th century, the Islamic conquest of the Iberian Peninsula saw the changed to Mayrit, from the Arabic term ميرا Mayra. The modern Madrid evolved from the Mozarabic Matrit, which is still in the Madrilenian gentilic, after the disintegration of the Caliphate of Córdoba, Madrid was integrated in the Taifa of Toledo. With the surrender of Toledo to Alfonso VI of León and Castile, the city was conquered by Christians in 1085, Christians replaced Muslims in the occupation of the centre of the city, while Muslims and Jews settled in the suburbs. The city was thriving and was given the title of Villa, since 1188, Madrid won the right to be a city with representation in the courts of Castile. In 1202, King Alfonso VIII of Castile gave Madrid its first charter to regulate the municipal council, which was expanded in 1222 by Ferdinand III of Castile
3.
Boulogne-Billancourt
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Boulogne-Billancourt is a commune in the western suburbs of Paris, France. It is located 8.2 km from the centre of Paris, Boulogne-Billancourt is a subprefecture of the Hauts-de-Seine department and the seat of the Arrondissement of Boulogne-Billancourt. With an average income in 2013 of €47,592, nearly twice the French average of €25,548. Boulogne-Billancourt is the most populous suburb of Paris and one of the most densely populated municipalities in Europe, formerly an important industrial site, it has successfully reconverted into business services and is now home to major communication companies headquartered in the Val de Seine business district. The original name of the commune was Boulogne-sur-Seine, before the 14th century, Boulogne was a small village called Menuls-lès-Saint-Cloud. The church, meant to become a pilgrimage centre closer to Paris than the distant city of Boulogne-sur-Mer, was named Notre-Dame de Boulogne la Petite, gradually, the village of Menuls-lès-Saint-Cloud became known as Boulogne-la-Petite, and later as Boulogne-sur-Seine. In 1924, Boulogne-sur-Seine was officially renamed Boulogne-Billancourt to reflect the development of the neighbourhood of Billancourt annexed in 1860. As for the name Billancourt, it was recorded for the first time in 1150 as Bullencort and it comes from Medieval Latin cortem, accusative of cors, meaning enclosure, estate, suffixed to the Germanic patronym Buolo, thus having the meaning of estate of Buolo. On 1 January 1860, the city of Paris was enlarged by annexing neighbouring communes, on that occasion, the communes of Auteuil and Passy were disbanded and divided between Boulogne-Billancourt and the city of Paris. Boulogne-sur-Seine received a part of the territory of Passy. Some of the events of the 1900 Summer Olympics took place in Boulogne-Billancourt. In 1929, the Bois de Boulogne, which was divided between the communes of Boulogne-Billancourt and Neuilly-sur-Seine, was annexed in its entirety by the city of Paris. On that occasion, Boulogne-Billancourt, to which most of the Bois de Boulogne belonged, Boulogne-Billancourt is famous for being the birthplace of three major French industries, cinema, automobile with Renault at Île Seguin, and aircraft. It is also famous for being the setting of the TV show Code Lyoko, with the city of Sèvres, Boulogne-Billancourt is part of the communauté dagglomération Val de Seine. Boulogne-Billancourt is served by two stations on Paris Métro Line 10, Boulogne – Jean Jaurès and Boulogne – Pont de Saint-Cloud and it is also served by three stations on Paris Métro Line 9, Marcel Sembat, Billancourt, and Pont de Sèvres. The Musée Albert-Kahn at 14, rue du Port, Boulogne-Billancourt is a museum and includes four hectares of gardens. The museum also includes photographs and film. The Musée des Années Trente is a museum of artistic and industrial objects from the 1930s, see also, Enseignement à Boulogne-Billancourt The public collèges in the commune include Jacqueline-Auriol, Bartholdi, Paul-Landowski, and Jean-Renoir
4.
Cubism
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Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. Cubism has been considered the most influential art movement of the 20th century, the term is broadly used in association with a wide variety of art produced in Paris during the 1910s and extending through the 1920s. The movement was pioneered by Georges Braque and Pablo Picasso, joined by Andre Lhote, Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris. A primary influence that led to Cubism was the representation of form in the late works of Paul Cézanne. The impact of Cubism was far-reaching and wide-ranging, Cubism spread rapidly across the globe and in doing so evolved to a greater or lesser extent. In essence, Cubism was the origin of a process that produced diversity. In France, offshoots of Cubism developed, including Orphism, Abstract art, in other countries Futurism, Suprematism, Dada, Constructivism, De Stijl and Art Deco developed in response to Cubism. Other common threads between these movements include the faceting or simplification of geometric forms, and the association of mechanization. Cubism began between 1907 and 1911, Pablo Picassos 1907 painting Les Demoiselles dAvignon has often been considered a proto-Cubist work. Georges Braques 1908 Houses at L’Estaque prompted the critic Louis Vauxcelles to refer to bizarreries cubiques, Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings. A second phase, Synthetic Cubism, remained vital until around 1919, english art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. Douglas Coopers restrictive use of terms to distinguish the work of Braque, Picasso, Gris. Alternative interpretations of Cubism have therefore developed, wider views of Cubism include artists who were later associated with the Salle 41 artists, e. g. John Berger identifies the essence of Cubism with the mechanical diagram. The metaphorical model of Cubism is the diagram, The diagram being a symbolic representation of invisible processes, forces, structures. A diagram need not eschew certain aspects of appearance but these too will be treated as not as imitations or recreations. During the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian, artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein, at a time when artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks. Picassos paintings of 1907 have been characterized as Protocubism, as seen in Les Demoiselles dAvignon
5.
Henri Matisse
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Henri-Émile-Benoît Matisse was a French artist, known for both his use of colour and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is primarily as a painter. Although he was labelled a Fauve, by the 1920s he was increasingly hailed as an upholder of the classical tradition in French painting. His mastery of the language of colour and drawing, displayed in a body of work spanning over a half-century. Matisse was born in Le Cateau-Cambrésis, in the Nord department in northern France and he grew up in Bohain-en-Vermandois, Picardie, France. In 1887 he went to Paris to study law, working as an administrator in Le Cateau-Cambrésis after gaining his qualification. He first started to paint in 1889, after his mother brought him art supplies during a period of following an attack of appendicitis. He discovered a kind of paradise as he described it. In 1891 he returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau, initially he painted still lifes and landscapes in a traditional style, at which he achieved reasonable proficiency. Chardin was one of the painters Matisse most admired, as an art student he made copies of four of Chardins paintings in the Louvre, in 1896 and 1897, Matisse visited the Australian painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of van Gogh and he later said Russell was my teacher, and Russell explained colour theory to me. In 1896 Matisse exhibited five paintings in the salon of the Société Nationale des Beaux-Arts, with the model Caroline Joblau, he had a daughter, Marguerite, born in 1894. In 1898 he married Amélie Noellie Parayre, the two raised Marguerite together and had two sons, Jean and Pierre, Marguerite and Amélie often served as models for Matisse. In 1898, on the advice of Camille Pissarro, he went to London to study the paintings of J. M. W. Turner and then went on a trip to Corsica. Upon his return to Paris in February 1899, he worked beside Albert Marquet and met André Derain, Jean Puy, Matisse immersed himself in the work of others and went into debt from buying work from painters he admired. The work he hung and displayed in his home included a plaster bust by Rodin, a painting by Gauguin, a drawing by van Gogh, in Cézannes sense of pictorial structure and colour, Matisse found his main inspiration. Many of Matisses paintings from 1898 to 1901 make use of a Divisionist technique he adopted after reading Paul Signacs essay and his paintings of 1902–03, a period of material hardship for the artist, are comparatively somber and reveal a preoccupation with form. Having made his first attempt at sculpture, a copy after Antoine-Louis Barye, in 1899, he devoted much of his energy to working in clay, fauvism as a style began around 1900 and continued beyond 1910
6.
Georges Braque
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Georges Braque was a major 20th-century French painter, collagist, draughtsman, printmaker and sculptor. His most important contributions to the history of art were in his alliance with Fauvism from 1906, braque’s work between 1908 and 1912 is closely associated with that of his colleague Pablo Picasso. Their respective Cubist works were indistinguishable for many years, yet the quiet nature of Braque was partially eclipsed by the fame, georges Braque was born on 13 May 1882 in Argenteuil, Val-dOise. He grew up in Le Havre and trained to be a house painter, however, he also studied artistic painting during evenings at the École des Beaux-Arts, in Le Havre, from about 1897 to 1899. In Paris, he apprenticed with a decorator and was awarded his certificate in 1902, the next year, he attended the Académie Humbert, also in Paris, and painted there until 1904. It was here that he met Marie Laurencin and Francis Picabia, Braques earliest works were impressionistic, but after seeing the work exhibited by the artistic group known as the Fauves in 1905, he adopted a Fauvist style. The Fauves, a group that included Henri Matisse and André Derain among others, Braque worked most closely with the artists Raoul Dufy and Othon Friesz, who shared Braques hometown of Le Havre, to develop a somewhat more subdued Fauvist style. In 1906, Braque traveled with Friesz to LEstaque, to Antwerp, in May 1907, he successfully exhibited works of the Fauve style in the Salon des Indépendants. The 1907 Cézanne retrospective at the Salon dAutomne greatly affected the artists of Paris. Braques paintings of 1908–1912 reflected his new interest in geometry and simultaneous perspective and he showed this in the painting Houses at lEstaque. Beginning in 1909, Braque began to work closely with Pablo Picasso who had been developing a similar proto-Cubist style of painting. At the time, Pablo Picasso was influenced by Gauguin, Cézanne, African masks, Picasso celebrates animation, while Braque celebrates contemplation. Thus, the invention of Cubism was a joint effort between Picasso and Braque, then residents of Montmartre, Paris and these artists were the styles main innovators. After meeting in October or November 1907, Braque and Picasso, in particular, both artists produced paintings of monochromatic color and complex patterns of faceted form, now termed Analytic Cubism. In 1912, they began to experiment with collage and Braque invented the papier collé technique, French art critic Louis Vauxcelles used the terms bizarre cubiques in 1908 after seeing a picture by Braque. He described it as full of little cubes, the term Cubism, first pronounced in 1911 with reference to artists exhibiting at the Salon des Indépendants, quickly gained wide use but Picasso and Braque did not adopt it initially. Art historian Ernst Gombrich described Cubism as the most radical attempt to stamp out ambiguity and to one reading of the picture—that of a man-made construction. The Cubist style spread quickly throughout Paris and then Europe, the two artists productive collaboration continued and they worked closely together until the beginning of World War I in 1914, when Braque enlisted with the French Army
7.
Pablo Picasso
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Pablo Ruiz y Picasso, also known as Pablo Picasso, was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Picasso demonstrated extraordinary artistic talent in his years, painting in a naturalistic manner through his childhood. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, Picassos work is often categorized into periods. Much of Picassos work of the late 1910s and early 1920s is in a neoclassical style and his later work often combines elements of his earlier styles. Ruiz y Picasso were included for his father and mother, respectively, born in the city of Málaga in the Andalusian region of Spain, he was the first child of Don José Ruiz y Blasco and María Picasso y López. His mother was of one quarter Italian descent, from the territory of Genoa, though baptized a Catholic, Picasso would later on become an atheist. Picassos family was of middle-class background and his father was a painter who specialized in naturalistic depictions of birds and other game. For most of his life Ruiz was a professor of art at the School of Crafts, Picasso showed a passion and a skill for drawing from an early age. According to his mother, his first words were piz, piz, a shortening of lápiz, from the age of seven, Picasso received formal artistic training from his father in figure drawing and oil painting. Ruiz was an academic artist and instructor, who believed that proper training required disciplined copying of the masters. His son became preoccupied with art to the detriment of his classwork, the family moved to A Coruña in 1891, where his father became a professor at the School of Fine Arts. On one occasion, the father found his son painting over his sketch of a pigeon. In 1895, Picasso was traumatized when his sister, Conchita. After her death, the moved to Barcelona, where Ruiz took a position at its School of Fine Arts. Picasso thrived in the city, regarding it in times of sadness or nostalgia as his true home, Ruiz persuaded the officials at the academy to allow his son to take an entrance exam for the advanced class. This process often took students a month, but Picasso completed it in a week, the student lacked discipline but made friendships that would affect him in later life. His father rented a room for him close to home so he could work alone, yet he checked up on him numerous times a day. Picassos father and uncle decided to send the young artist to Madrids Real Academia de Bellas Artes de San Fernando, at age 16, Picasso set off for the first time on his own, but he disliked formal instruction and stopped attending classes soon after enrolment
8.
L'Assiette au Beurre
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LAssiette au Beurre was an illustrated French weekly satirical magazine with anarchist political leanings that was chiefly produced between 1901 and 1912. It was revived as a monthly for a time and ceased production in 1936, the magazines caricature and editorial cartoon content was drawn from a varied cadre of illustrator-contributors of many backgrounds and disparite artistic styles. The content often focused on socialist and anarchist ideas, the first series expired on 15 October 1912. A second series was published between 1921 and 1925 on a basis, eventually becoming a single supplement. LAssiette au Beurre is a valuable iconographic testament of the Belle Époque period in France, characterized by optimism, peace at home and in Europe, new technology, Georges Wolinski, indicated in 2011 that his magazines work was the legacy of LAssiette au Beurre. From its first appearance, LAssiette au Beurre registered as a departure in form from other French humor publications, special editions held up to 48 pages. Images were published from original drawings using a zincography, planographic printing process, periodically, a single artist was chosen for an issue to provide a variety of panels on a specific topic, making that issue a veritable collected album for that illustrator. Sometimes a team was employed as well, according to Kevin C. Samuel Sigismond Schwarz was the magazines founder and director. Schwarz was a Jewish immigrant to France from Hungary, becoming a French naturalized citizen, after arriving in Paris in 1878, Schwarz became a book broker, specializing in the work of Victor Hugo through association with Paul Meurice. He launched the first issue of LAssiette au Beurre on 4 April 1901, priced at 25 centimes, it did not have a specific theme, starting with the fourth issues cover, the graphic presentation was changed to emulate that of a newspaper. Such typographical variation was quite unusual in the media of the day, issue no.14 was the first to take up a theme, conveyed by its title, La guerre. It was illustrated with 14 lithographs signed by Hermann Paul, the first special edition of the magazine, released in February 1902, sold for 1 franc and was headlined and took up the theme of empoisonneurs patentés. In December 1903, the paper starts printing a cover without images, to guard against censorship. One of the more unusual issues artistically and in format was no, the selling price was increased to 50 centimes. The format was never repeated, making it a feature in the magazines run. The first issues sold between 25,000 and 40,000 copies and garnered a profit, in 1902, Sigismund recorded sales approaching 250,000 copies. However, at the end of year, the publication experienced its first failure linked to poor sales of some of its other titles. In October 1903, at a time when business in general appeared to be going wrong for Sigismund, the quality of the content held up under his stewardship, as did its sales
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