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.
Paris
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Paris is the capital and most populous city of France. It has an area of 105 square kilometres and a population of 2,229,621 in 2013 within its administrative limits, the agglomeration has grown well beyond the citys administrative limits. By the 17th century, Paris was one of Europes major centres of finance, commerce, fashion, science, and the arts, and it retains that position still today. The aire urbaine de Paris, a measure of area, spans most of the Île-de-France region and has a population of 12,405,426. It is therefore the second largest metropolitan area in the European Union after London, the Metropole of Grand Paris was created in 2016, combining the commune and its nearest suburbs into a single area for economic and environmental co-operation. Grand Paris covers 814 square kilometres and has a population of 7 million persons, the Paris Region had a GDP of €624 billion in 2012, accounting for 30.0 percent of the GDP of France and ranking it as one of the wealthiest regions in Europe. The city is also a rail, highway, and air-transport hub served by two international airports, Paris-Charles de Gaulle and Paris-Orly. Opened in 1900, the subway system, the Paris Métro. It is the second busiest metro system in Europe after Moscow Metro, notably, Paris Gare du Nord is the busiest railway station in the world outside of Japan, with 262 millions passengers in 2015. In 2015, Paris received 22.2 million visitors, making it one of the top tourist destinations. The association football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris, the 80, 000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros, Paris hosted the 1900 and 1924 Summer Olympics and is bidding to host the 2024 Summer Olympics. The name Paris is derived from its inhabitants, the Celtic Parisii tribe. Thus, though written the same, the name is not related to the Paris of Greek mythology. In the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps, since the late 19th century, Paris has also been known as Panam in French slang. Inhabitants are known in English as Parisians and in French as Parisiens and they are also pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the areas major north-south trade routes crossed the Seine on the île de la Cité, this place of land and water trade routes gradually became a town
5.
Spain
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By population, Spain is the sixth largest in Europe and the fifth in the European Union. Spains capital and largest city is Madrid, other urban areas include Barcelona, Valencia, Seville, Bilbao. Modern humans first arrived in the Iberian Peninsula around 35,000 years ago, in the Middle Ages, the area was conquered by Germanic tribes and later by the Moors. Spain is a democracy organised in the form of a government under a constitutional monarchy. It is a power and a major developed country with the worlds fourteenth largest economy by nominal GDP. Jesús Luis Cunchillos argues that the root of the span is the Phoenician word spy. Therefore, i-spn-ya would mean the land where metals are forged, two 15th-century Spanish Jewish scholars, Don Isaac Abravanel and Solomon ibn Verga, gave an explanation now considered folkloric. Both men wrote in two different published works that the first Jews to reach Spain were brought by ship by Phiros who was confederate with the king of Babylon when he laid siege to Jerusalem. This man was a Grecian by birth, but who had given a kingdom in Spain. He became related by marriage to Espan, the nephew of king Heracles, Heracles later renounced his throne in preference for his native Greece, leaving his kingdom to his nephew, Espan, from whom the country of España took its name. Based upon their testimonies, this eponym would have already been in use in Spain by c.350 BCE, Iberia enters written records as a land populated largely by the Iberians, Basques and Celts. Early on its coastal areas were settled by Phoenicians who founded Western Europe´s most ancient cities Cadiz, Phoenician influence expanded as much of the Peninsula was eventually incorporated into the Carthaginian Empire, becoming a major theater of the Punic Wars against the expanding Roman Empire. After an arduous conquest, the peninsula came fully under Roman Rule, during the early Middle Ages it came under Germanic rule but later, much of it was conquered by Moorish invaders from North Africa. In a process took centuries, the small Christian kingdoms in the north gradually regained control of the peninsula. The last Moorish kingdom fell in the same year Columbus reached the Americas, a global empire began which saw Spain become the strongest kingdom in Europe, the leading world power for a century and a half, and the largest overseas empire for three centuries. Continued wars and other problems led to a diminished status. The Napoleonic invasions of Spain led to chaos, triggering independence movements that tore apart most of the empire, eventually democracy was peacefully restored in the form of a parliamentary constitutional monarchy. Spain joined the European Union, experiencing a renaissance and steady economic growth
6.
Painting
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Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
7.
Sculpture
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Sculpture is the branch of the visual arts that operates in three dimensions. It is one of the plastic arts, a wide variety of materials may be worked by removal such as carving, assembled by welding or modelling, or molded, or cast. However, most ancient sculpture was painted, and this has been lost. Those cultures whose sculptures have survived in quantities include the cultures of the ancient Mediterranean, India and China, the Western tradition of sculpture began in ancient Greece, and Greece is widely seen as producing great masterpieces in the classical period. During the Middle Ages, Gothic sculpture represented the agonies and passions of the Christian faith, the revival of classical models in the Renaissance produced famous sculptures such as Michelangelos David. Relief is often classified by the degree of projection from the wall into low or bas-relief, high relief, sunk-relief is a technique restricted to ancient Egypt. Relief sculpture may also decorate steles, upright slabs, usually of stone, techniques such as casting, stamping and moulding use an intermediate matrix containing the design to produce the work, many of these allow the production of several copies. The term sculpture is used mainly to describe large works. The very large or colossal statue has had an enduring appeal since antiquity, another grand form of portrait sculpture is the equestrian statue of a rider on horse, which has become rare in recent decades. The smallest forms of life-size portrait sculpture are the head, showing just that, or the bust, small forms of sculpture include the figurine, normally a statue that is no more than 18 inches tall, and for reliefs the plaquette, medal or coin. Sculpture is an important form of public art, a collection of sculpture in a garden setting can be called a sculpture garden. One of the most common purposes of sculpture is in form of association with religion. Cult images are common in cultures, though they are often not the colossal statues of deities which characterized ancient Greek art. The actual cult images in the innermost sanctuaries of Egyptian temples, of which none have survived, were rather small. The same is true in Hinduism, where the very simple. Some undoubtedly advanced cultures, such as the Indus Valley civilization, appear to have had no monumental sculpture at all, though producing very sophisticated figurines, the Mississippian culture seems to have been progressing towards its use, with small stone figures, when it collapsed. Other cultures, such as ancient Egypt and the Easter Island culture, from the 20th century the relatively restricted range of subjects found in large sculpture expanded greatly, with abstract subjects and the use or representation of any type of subject now common. Today much sculpture is made for intermittent display in galleries and museums, small sculpted fittings for furniture and other objects go well back into antiquity, as in the Nimrud ivories, Begram ivories and finds from the tomb of Tutankhamun
8.
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
9.
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
10.
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
11.
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
12.
Anarchism
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Anarchism is a political philosophy that advocates self-governed societies based on voluntary institutions. These are often described as stateless societies, although several authors have defined them more specifically as institutions based on non-hierarchical free associations, Anarchism holds the state to be undesirable, unnecessary, and harmful. While anti-statism is central, anarchism entails opposing authority or hierarchical organisation in the conduct of all relations, including, but not limited to. Anarchism does not offer a fixed body of doctrine from a particular world view. Many types and traditions of anarchism exist, not all of which are mutually exclusive, Anarchist schools of thought can differ fundamentally, supporting anything from extreme individualism to complete collectivism. Strains of anarchism have often divided into the categories of social. The term anarchism is a word composed from the word anarchy and the suffix -ism, themselves derived respectively from the Greek ἀναρχία, i. e. anarchy. The first known use of this word was in 1539, various factions within the French Revolution labelled opponents as anarchists although few shared many views of later anarchists. The first political philosopher to call himself an anarchist was Pierre-Joseph Proudhon, on the other hand, some use libertarianism to refer to individualistic free-market philosophy only, referring to free-market anarchism as libertarian anarchism. The earliest anarchist themes can be found in the 6th century BC, among the works of Taoist philosopher Laozi, zhuangzis philosophy has been described by various sources as anarchist. Zhuangzi wrote, A petty thief is put in jail, a great brigand becomes a ruler of a Nation. Diogenes of Sinope and the Cynics, their contemporary Zeno of Citium, Jesus is sometimes considered the first anarchist in the Christian anarchist tradition. Georges Lechartier wrote that The true founder of anarchy was Jesus Christ, the first anarchist society was that of the apostles. This is exemplified when the glorification of the state is viewed as a form of sinful idolatry, the French renaissance political philosopher Étienne de La Boétie wrote in his most famous work the Discourse on Voluntary Servitude what some historians consider an important anarchist precedent. The radical Protestant Christian Gerrard Winstanley and his group the Diggers are cited by authors as proposing anarchist social measures in the 17th century in England. The term anarchist first entered the English language in 1642, during the English Civil War, as a term of abuse, used by Royalists against their Roundhead opponents. By the time of the French Revolution some, such as the Enragés, began to use the term positively, in opposition to Jacobin centralisation of power, by the turn of the 19th century, the English word anarchism had lost its initial negative connotation. Modern anarchism emerged from the secular or religious thought of the Enlightenment, as part of the political turmoil of the 1790s in the wake of the French Revolution, William Godwin developed the first expression of modern anarchist thought
13.
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
14.
Le Rire
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Le Rire was a successful French humor magazine published from October 1894 through the 1950s. Founded in Paris during the Belle Époque by Felix Juven, Le Rire appeared as typical Parisians began to achieve more education, income, interest in the arts, culture and politics intensified during the Gay Nineties. Publications like this helped satisfy such curiosity and it was the most successful of all the Journaux Humoristiques. The Dreyfus Affair occurred in 1894 and Le Rire was one of many publications to tap anti-Republican sentiment in wake of that scandal and it was a time in which French governance was frequently characterized by corruption and mismanagement. Government ministers and military officials became frequent targets, the satirical journal was filled with excellent drawings by prominent artists. It featured full-page chromotypographs on both covers and in the centerfold, many of these pieces are now highly desirable collectibles. The most prominent contributor was Théophile Steinlen and his illustrations were biting caricatures of the political jackasses of the day. During the music era, cabarets and cafes were crowded with personalities. Le Rire was there to capture scene for its readers and its pages depicted the likes of Yvette Guilbert, Polaire, Jane Avril, Réjane and even those of popular visitors to the theaters such as Séverine. The magazine remained in business for almost sixty years, closing down in the 1950s, Steinlen. net - A collection of more than 1,000 Steinlen images Le Rire - online Le rire rouge, édition de guerre du journal le rire - online
15.
Le Charivari
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Le Charivari was an illustrated magazine published in Paris, France, from 1832 to 1937. It published caricatures, political cartoons and reviews, after 1835, when the government banned political caricature, Le Charivari began publishing satires of everyday life. Le Charivari was started by caricaturist Charles Philipon and his brother-in-law Gabriel Aubert to reduce their risk of censorship fines. They also had published the satirical, anti-monarchist, illustrated newspaper La Caricature, in Le Charivari, they featured humorous content which was not so political. Ownership of the paper changed often due to issues with government censorship, Le Charivari published daily from 1832 to 1936, and then weekly until 1937. In 1841 English engraver, Ebenezer Landells, together with Henry Mayhew, used Le Charivari as the model to establish their Punch magazine, H. Daumier and His Lithographic Work. Honoré Daumier exhibition, Masterworks fine art, archived from the original on 15 June 2006, Daumier Drawings, an exhibition catalog from The Metropolitan Museum of Art, which contains material on Le Charivari
16.
Jean Metzinger
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Jean Dominique Antony Metzinger was a major 20th-century French painter, theorist, writer, critic and poet, who along with Albert Gleizes wrote a theoretical work on Cubism. His earliest works, from 1900 to 1904, were influenced by the Neo-impressionism of Georges Seurat, between 1904 and 1907 Metzinger worked in the Divisionist and Fauvist styles with a strong Cézannian component, leading to some of the first proto-Cubist works. From 1908 Metzinger experimented with the faceting of form, a style that would become known as Cubism. His early involvement in Cubism saw him both as an influential artist and an important theorist of the movement. The idea of moving around an object in order to see it from different view-points is treated, for the first time, in Metzingers Note sur la Peinture, before the emergence of Cubism, painters worked from the limiting factor of a single view-point. Jean Metzinger and Albert Gleizes wrote the first major treatise on Cubism in 1912, Metzinger was a founding member of the Section dOr group of artists. During the First World War Metzinger furthered his role as a leading Cubist with his co-founding of the phase of the movement. He recognized the importance of mathematics in art, through a radical geometrization of form as an underlying basis for his wartime compositions. As post-war reconstruction began, a series of exhibitions at Léonce Rosenbergs Galerie de LEffort Moderne were to highlight order, the collective phenomenon of Cubism—now in its advanced revisionist form—became part of a widely discussed development in French culture, with Metzinger at its helm. In terms of the separation of culture and life, this period emerges as the most important in the history of Modernism, for Metzinger, the classical vision had been an incomplete representation of real things, based on an incomplete set of laws, postulates and theorems. He believed the world was dynamic and changing in time, that it appeared different depending on the point of view of the observer, each of these viewpoints were equally valid according to underlying symmetries inherent in nature. Jean Metzinger came from a prominent military family and his great-grandfather, Nicolas Metzinger, Captain in the 1st Horse Artillery Regiment, and Chevalier of the Legion of Honour, had served under Napoleon Bonaparte. A street in the Sixième arrondissement of Nantes was named after Jeans grandfather, Jeans younger brother Maurice would become a musician, excelling as a cellist. By 1900 Jean was a student at Académie Cours Cambronne in Nantes, working under Hippolyte Touront, Metzinger, however, was interested in the current trends in painting. Metzinger sent three paintings to the Salon des Indépendants in 1903, and subsequently moved to Paris with the proceeds from their sale, from the age of 20, Metzinger supported himself as a professional painter. He would show four times at Weills gallery,17 January-1 February 1913, March 1913, June 1914. It is at Berthe Weills that he would meet Max Jacob for the first time, Berthe Weill was also the first Parisian art dealer to sell works of Picasso. Along with Picasso and Metzinger, she helped discover Matisse, Derain, Amedeo Modigliani, in 1904 Metzinger exhibited six paintings in the Divisionist style at the Salon des Indépendants and the Salon d’Automne
17.
Gertrude Stein
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Gertrude Stein was an American novelist, poet, playwright, and art collector. Born in the Allegheny West neighborhood of Pittsburgh, Pennsylvania, and raised in Oakland, California, Stein moved to Paris in 1903, in 1933, Stein published a quasi-memoir of her Paris years, The Autobiography of Alice B. Toklas, written in the voice of her partner, Alice B. Toklas, an American-born member of the Parisian avant-garde, the book became a literary bestseller and vaulted Stein from the relative obscurity of the cult-literature scene into the limelight of mainstream attention. Her books include Q. E. D. about a romantic affair involving several of Steins female friends, Fernhurst, a fictional story about a romantic affair, Three Lives. In Tender Buttons, Stein commented on lesbian sexuality and her activities during World War II have been the subject of analysis and commentary. After the war ended, Stein expressed admiration for another Nazi collaborator, some have argued that certain accounts of Steins wartime activities have amounted to a witch hunt. Stein, the youngest of a family of five children, was born on February 3,1874, in Allegheny, Pennsylvania to upper-middle-class Jewish parents, Daniel and her father was a wealthy businessman with real estate holdings. German and English were spoken in their home, when Stein was three years old, she and her family moved to Vienna, and then Paris. Accompanied by governesses and tutors, the Steins endeavored to imbue their children with the sensibilities of European history. Stein attended First Hebrew Congregation of Oaklands Sabbath school, during their residence in Oakland, they lived for four years on a ten-acre lot, and Stein built many memories of California there. She would often go on excursions with her brother, Leo, Stein found formal schooling in Oakland unstimulating, but she read often, Shakespeare, Wordsworth, Scott, Burns, Smollett, Fielding, and more. When Stein was 14 years old, her mother died, Three years later, her father died as well. Steins eldest brother, Michael Stein, then took over the family holdings and in 1892 arranged for Gertrude and another sister, Bertha. Here she lived with her uncle David Bachrach, who in 1877 had married Gertrudes maternal aunt, in Baltimore, Stein met Claribel and Etta Cone, who held Saturday evening salons that she would later emulate in Paris. The Cones shared an appreciation for art and conversation about it, Stein attended Radcliffe College, then an annex of Harvard University, from 1893 to 1897 and was a student of psychologist William James. In 1934, behavioral psychologist B. F. Skinner interpreted Steins difficult poem Tender Buttons as an example of normal motor automatism. In a letter Stein wrote during the 1930s, she explained that she never accepted the theory of writing, here can be automatic movements
18.
The Autobiography of Alice B. Toklas
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Toklas is a 1933 book by Gertrude Stein, written in the guise of an autobiography authored by Alice B. In 1998, Modern Library ranked it as one of the 20 greatest English-language nonfiction books of the 20th century, toklas, as narrator of the work, says she was born into an affluent family in San Francisco. Later she met Gertrude Steins sister-in-law during the fires in the aftermath of the 1906 San Francisco earthquake, Alice talks about the important role of Helene, Gertrudes housemaid, in their household in Paris. She mentions preparations for an art exhibition and she discusses Picasso and his mistress Fernande. Picasso and Fernande end their relationship, and Fernande moves to Montparnasse to teach French, Alice and Gertrude visit her there. Alice tells of Gertrude and her brother Leo Stein buying paintings by Paul Cézanne and she next discusses spending the summer with Gertrude in Fiesole, Italy, while Picasso goes to Spain. Back in France, Gertrude falls out with Guillaume Apollinaire, later, Picasso has an argument with Matisse. Alice tells how Gertrude Stein was born in Allegheny, Pennsylvania, then moved to Vienna, to Passy and she attended Radcliffe College, where she was taught by William James. Alice tells stories about Matisse, Apollinaire, and many other Cubist artists and she recounts holidays in Italy and Spain with Gertrude. Finally, they move to England on the eve of World War I to meet with Gertrudes editor, Gertrude and Alice begin the war years in England, and then go briefly to France to rescue Gertrudes writings. They then live in Spain for a while, and eventually back to France. There, they do work for the American Fund for the French Wounded, driving around France to help the wounded. By the end of the war, Paris seems changed, Alice tells of Gertrudes argument with T. S. Eliot after he finds one of her writings inappropriate. She talks about her friendship with Sherwood Anderson and Ernest Hemingway, there the couple makes friends with a coterie of Russian artists, but they constitute no artistic movement. Later, Gertrude gives a lecture at Oxford University, Alice then mentions more parties with artists. Later, they abridge The Making of Americans to four hundred pages for commercial reasons, Gertrude Stein admitted to writing the work in six weeks with an end to making money. However, she did not like writing it for that particular reason and it was the first of her writings to be published in the Atlantic Monthly, much to her joy. The magazine published sixty per cent of the novel, in four installments and her brother Leo Stein deemed it a farrago of lies
19.
Art Institute of Chicago
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The Art Institute of Chicago, founded in 1879 and located in Chicagos Grant Park, is one of the oldest and largest art museums in the United States. Recognized for its efforts and popularity among visitors, the museum hosts approximately 1.5 million guests annually. The growth of the collection has warranted several additions to the museums original 1893 building, the Art Institute is connected to the School of the Art Institute of Chicago, a leading art school, making it one of the few remaining unified arts institutions in the United States. In 1866, a group of 35 artists founded the Chicago Academy of Design in a studio on Dearborn Street, the organization was modeled after European art academies, such as the Royal Academy, with Academicians and Associate Academicians. The Academys charter was granted in March 1867, classes started in 1868, meeting every day at a cost of $10 per month. The Academys success enabled it to build a new home for the school, a stone building on 66 West Adams Street. When the Great Chicago Fire destroyed the building in 1871 the Academy was thrown into debt, attempts to continue despite the loss by using rented facilities failed. By 1878 the Academy was $10,000 in debt, members tried to rescue the ailing institution by making deals with local businessmen, before some finally abandoned it in 1879 to found a new organization, named the Chicago Academy of Fine Arts. When the Chicago Academy of Design went bankrupt the same year, in 1882, the Chicago Academy of Fine Arts changed its name to the current Art Institute of Chicago and elected as its first president the banker and philanthropist Charles L. Also in 1882, the purchased a lot on the southwest corner of Michigan Avenue. By January 1885 the trustees recognized the need to provide space for the organizations growing collection. The city agreed, and the building was completed in time for the year of the fair. Construction costs were met by selling the Michigan/Van Buren property, on October 31,1893 the Institute moved into the new building. For the opening reception on December 8,1893, Theodore Thomas, from the 1900s to the 1960s the school offered with the Logan Family the Logan Medal of the Arts, an award which became one of the most distinguished awards presented to artists in the US. Between 1959 and 1970 the Institute was a key site in the battle to gain art and documentary photography a place in galleries, under curator Hugh Edwards and his assistants. As Director of the museum starting in the early 1980s, James N. Wood conducted an expansion of its collection. He retired from the museum in 2004, in 2006, the Art Institute began construction of The Modern Wing, an addition situated on the southwest corner of Columbus and Monroe. The project, designed by Pritzker Prize winning architect Renzo Piano, was completed, the 264, 000-square-foot building makes the Art Institute the second-largest art museum in the United States
20.
Der Sturm
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Der Sturm was a German art and literary magazine covering Expressionism, Cubism, Dada and Surrealism, among other artistic movements. It was published between 1910 and 1932, Der Sturm was established in Berlin in 1910 by Herwarth Walden. It ran weekly until monthly in 1914, and became a quarterly in 1924, the magazine modelled on the Italian literary magazine La Voce published in Florence from 1908 to 1916. Der Sturm ceased publication in 1932, Der Sturm consisted of pieces such as expressionistic dramas, artistic portfolios, essays from artists, and theoretical writings on art from Herwarth Walden. The most well-known publications resulting from the magazine were the Sturmbücher, the term Sturm was branded by Walden to represent the way in which modern art was penetrating Germany at the time. Regularly, poems and other texts of French and/or French-speaking expressionists were published and this relationship was renewed after the war despite the hostilities between the two countries caused by the fighting. The magazine also fostered the Galerie Der Sturm, started by Walden to celebrate its 100th edition, the gallery became the focus for Berlins modern art scene for a decade. Despite this, the gallery declined in importance after the war and closed in 1924, accordingly, Walden organized, until 1932, more than 200 exhibitions in its premises in Berlin plus multiple other touring exhibitions in Germany and also in most other major European cities. List of magazines in Germany Die Aktion Proto-Cubism Cubism Orphism
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Rouen
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Rouen is a city on the River Seine in the north of France. It is the capital of the region of Normandy, formerly one of the largest and most prosperous cities of medieval Europe, Rouen was the seat of the Exchequer of Normandy during the Middle Ages. It was one of the capitals of the Anglo-Norman dynasties, which ruled both England and large parts of modern France from the 11th to the 15th centuries. The population of the area at the 2007 census was 532,559. People from Rouen are known as Rouennais, Rouen and its metropolitan area of 70 suburban communes form the Agglomeration community of Rouen-Elbeuf-Austreberthe, with 494,382 inhabitants at the 2010 census. Rouen was founded by the Gaulish tribe of Veliocasses, who controlled an area in the lower Seine valley. The Gauls named the settlement Ratumacos and the Romans called it Rotomagus, Roman Rotomagus was the second city of Gallia Lugdunensis, after Lugdunum. In the 5th century, it became the seat of a bishopric, in the 10th century Rouen became the capital of the Duchy of Normandy and the residence of the dukes, until William the Conqueror established his castle at Caen. During the early 12th century the population reached 30,000. In 1150, Rouen received its charter, which permitted self-government. During the 12th century, Rouen was probably the site of a Jewish yeshiva, at that time, about 6,000 Jews lived in the town, comprising about 20% of the total population. The well-preserved remains of a medieval Jewish building, that could be a yeshiva, were discovered in the 1970s under the Rouen Law Courts. In 1200, a destroyed part of Rouens Romanesque cathedral, leaving just St Romains tower, the side porches of its front. New work on the present Gothic cathedral of Rouen began, in the nave, transept, choir, on 24 June 1204, Philip Augustus entered Rouen and annexed Normandy to the French Kingdom. The fall of Rouen meant the end of Normandys sovereign status and he demolished the Norman castle and replaced it with his own, the Château Bouvreuil, built on the site of the Gallo-Roman amphitheatre. A textile industry developed based on wool imported from England, competing with the northern County of Flanders, the city found its market niche in the Champagne fairs. Rouen also depended on the traffic of the Seine for its prosperity. Wine and wheat were exported to England, with tin and wool received in return, in the late 13th century urban strife threatened the city, in 1291, the mayor was assassinated and noble residences in the city were pillaged
22.
Section d'Or
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The Section dOr, also known as Groupe de Puteaux, was a collective of painters, sculptors, poets and critics associated with Cubism and Orphism. Based in the Parisian suburbs, the group held meetings at the home of the Duchamp brothers in Puteaux. Active from 1911 to around 1914, members of the came to prominence in the wake of their controversial showing at the Salon des Indépendants in the spring of 1911. The Salon de la Section dOr, held October 1912—the largest and most important public showing of Cubist works prior to World War I—exposed Cubism to an audience still. After the war, with support given by the dealer Léonce Rosenberg, the Puteaux Group organized their first exhibition under the name Salon de la Section dOr at the Galerie La Boétie in Paris, October 1912. Following the 1911 Salon exhibitions the group formed by Le Fauconnier, Metzinger, Gleizes, Léger, francis Picabia was introduced to the circle, perhaps by Guillaume Apollinaire with whom he had recently become friendly. Most importantly was the contact established with Metzinger and the Duchamp brothers, the opening address was given by Apollinaire. The 1912 Salon de la Section dOr was arguably the most important pre-World War I Cubist exhibition, in the previous year the Cubists and a large number of their associates had exhibited at the Galerie de lArt Contemporain under the auspices of the Société Normande de Peinture Moderne. This exhibition had received attention in the press, though due to the diversity of the works presented it had been referred to as an exposition des fauves et cubistes. The Salon de la Section dOr, however, was accepted as being entirely Cubist in nature. Over 200 works were displayed, and the fact many of the artists showed artworks representative of their development from 1909 to 1912 gave the exhibition the allure of a Cubist retrospective. The inauguration was held from nine until midnight, for which the precedent was the opening of the 1903 Salon dAutomne. Invitations were widely diffused prior to the show, and many of the guests had to be turned away on opening night. Undoubtedly, due to the success of the exhibition, Cubism became recognized as a tendency, genre or style in art with a specific common philosophy or goal. The idea of the Section dOr originated in the course of conversations between Gleizes, Metzinger and Jacques Villon, the groups title was suggested by Villon, after reading a 1910 translation of Leonardo da Vincis Trattato della Pittura by Joséphin Péladan. Peladan attached great significance to the golden section, and other similar geometric configurations. For Villon, this symbolized his belief in order and the significance of mathematical proportions, because it reflected patterns, jean Metzinger and the Duchamp brothers were passionately interested in mathematics. The name La Section dOr represented simultaneously a continuity with past traditions and current trends in related fields, the Section dOr group founded by some of the most prominent Cubists was in effect an homage to Georges Seurat
23.
Daniel-Henry Kahnweiler
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Daniel-Henry Kahnweiler was a German-born art historian, art collector, and one of the premier French art dealers of the 20th century. He became prominent as an art gallery owner in Paris beginning in 1907 and he was among the first champions of Pablo Picasso, Georges Braque and Cubism. Kahnweilers family had moved from Rockenhausen, a village in the Palatinate, to Mannheim, Baden. His upbringing and education at a German Gymnasium prepared him for a life as an art connoisseur. An early initial training in the business of stock brokerage in Germany. Kahnweiler is considered one of the dealers and spokesmen for Cubism. He was among the first people to recognize the importance and beauty of Picassos Les Demoiselles DAvignon, immediately wanting to buy it, Picasso wrote of Kahnweiler What would have become of us if Kahnweiler hadnt had a business sense. – compelling because at the time of the origination of his most famous works Picasso was largely unknown as an artist, Kahnweiler wanted as he said to defend artists he believed in, but only those who had no dealers and whom he believed were great artists. Thus, Paul Cézanne, although a great artist, was considered too old to be represented, along with such men as Alfred Flechtheim, Paul Cassirer, Daniel Wildenstein, Léonce Rosenberg and Paul Rosenberg, Kahnweiler was one of the influential connoisseurs of the 20th century. As a businessman Kahnweiler innovated many new ways of working with artists, in 1907 when there were only half a dozen good galleries in Paris, he made contracts with artists to buy all of their work. He saw them daily to discuss their work, he photographed each work, he held exhibitions of their work, Kahnweiler gave the first exhibition of the work of Georges Braque. So strong a business ability did Kahnweiler have that by the 1950s his art gallery was in the top 100 companies in France in terms of turnover from export. But although the survival and financial success of his artists was important, it was as an art historian and as an eyewitness to Cubism, when working in Paris his spare time was devoted to reading and understanding the history of art and aesthetics. He also spent his time visiting the museums and art galleries, including trips around the continent to see what was being shown in museums. He gave his first interview in 1912 on Cubism, and it was actual historical events led to his career as a historian. The gallery had a clear position, uncompromising integrity, financial stability. During the years 1907-1914 - the central cradle for Cubism was his gallery - not only to see the works but where one also met the artists, discussed art, during the years of exile he studied and wrote on his experiences. He wrote works such as the Der Weg Zum Kubismus and Confessions esthétiques, writing becoming a passion he continued over his lifetime, creating hundreds of books and major articles
24.
Collage
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Collage is a technique of an art production, primarily used in the visual arts, where the artwork is made from an assemblage of different forms, thus creating a new whole. The origins of collage can be traced back hundreds of years, the term collage was coined by both Georges Braque and Pablo Picasso in the beginning of the 20th century when collage became a distinctive part of modern art. Techniques of collage were first used at the time of the invention of paper in China, around 200 BC. The use of collage, however, wasnt used by many people until the 10th century in Japan, when began to apply glued paper, using texts on surfaces. The technique of collage appeared in medieval Europe during the 13th century, gold leaf panels started to be applied in Gothic cathedrals around the 15th and 16th centuries. Gemstones and other metals were applied to religious images, icons. An 18th-century example of art can be found in the work of Mary Delany. In the 19th century, collage methods also were used among hobbyists for memorabilia, the exhibition later traveled to The Metropolitan Museum of Art and The Art Gallery of Ontario. For example, the Tate Gallerys online art glossary states that collage was first used as a technique in the twentieth century. The glued-on patches which Braque and Picasso added to their canvases offered a new perspective on painting when the patches collided with the plane of the painting. Collage in the modernist sense began with Cubist painters Georges Braque, according to some sources, Picasso was the first to use the collage technique in oil paintings. According to the Guggenheim Museums online article about collage, Braque took up the concept of collage itself before Picasso, applying it to charcoal drawings. Picasso adopted collage immediately after, It was Braque who purchased a roll of simulated oak-grain wallpaper and began cutting out pieces of the paper, Picasso immediately began to make his own experiments in the new medium. In 1912 for his Still Life with Chair Caning, Picasso pasted a patch of oilcloth with a design onto the canvas of the piece. Surrealist artists have made use of collage. Cubomania is a made by cutting an image into squares which are then reassembled automatically or at random. Collages produced using a similar, or perhaps identical, method are called etrécissements by Marcel Mariën from a method first explored by Mariën, surrealist games such as parallel collage use collective techniques of collage making. Many of these artists used techniques in their work
25.
Monochrome
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Monochrome describes paintings, drawings, design, or photographs in one color or values of one color. A monochromatic object or image reflects colors in shades of limited colors or hues, images using only shades of grey are called grayscale or black-and-white. However, scientifically speaking, monochromatic light refers to light of a narrow band of wavelengths. In computing, monochrome has two meanings, it may mean having only one color which is either on or off, a monochrome computer display is able to display only a single color, often green, amber, red or white, and often also shades of that color. In film photography, monochrome is typically the use of black-and-white film, originally, all photography was done in monochrome. Although color photography was possible even in the late 19th century, easily used color films, if the red channel is eliminated and the green and blue combined then the effect will be similar to that of orthochromatic film or the use of a cyan filter on panchromatic film. The selection of weighting thus allows a range of artistic expression in the final monochromatic image. For production of an image the original color stereogram source may first be reduced to monochrome in order to simplify the rendering of the image. This is sometimes required in cases where an image would render in a confusing manner given the colors and patterns present in the source image. In physics, monochromatic light is electromagnetic radiation of a single frequency, even very controlled sources such as lasers operate in a range of frequencies. In practice, filtered light, diffraction grating separated light and laser light are all referred to as monochromatic. Often light sources can be compared and one be labeled as “more monochromatic”
26.
Le Corbusier
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Charles-Édouard Jeanneret, known as Le Corbusier, was a Swiss-French architect, designer, painter, urban planner, writer, and one of the pioneers of what is now called modern architecture. He was born in Switzerland and became a French citizen in 1930 and his career spanned five decades, he constructed buildings in Europe, Japan, India, and North and South America. Le Corbusier prepared the plan for the city of Chandigarh in India. On July 17,2016, seventeen projects by Le Corbusier in seven countries were inscribed in the list of UNESCO World Heritage sites as an Outstanding Contribution to the Modern Movement and it was an industrial town, devoted to the manufacture of watches. His father was an artisan who enameled boxes and watches, while his mother gave piano lessons and his elder brother Albert was an amateur violinist. He attended a kindergarten that used Fröbelian methods, like his contemporaries Frank Lloyd Wright and Mies van der Rohe, Le Corbusier did not have formal academic training as an architect. He was attracted to the arts and at the age of fifteen he entered the municipal art school in La-Chaux-de-Fonds which taught the applied arts connected with watchmaking. Three years later he attended the course of decoration, founded by the painter Charles LEplattenier. Le Corbusier wrote later that LEplattenier had made him a man of the woods and his father took him frequently into the mountains around the town. He wrote later, we were constantly on mountaintops, we grew accustomed to a vast horizon and his architecture teacher in the Art School was the architect René Chapallaz, who had a large influence on Le Corbusiers earliest house designs. However, he reported later that it was the art teacher LEplattenier who made him choose architecture, I had a horror of architecture and architects, he wrote. I was sixteen, I accepted the verdict and I obeyed. Le Corbusier began teaching himself by going to the library to read about architecture and philosophy, by visiting museums, by sketching buildings, located on the forested hillside near Chaux-de-fonds. It was a chalet with a steep roof in the local alpine style. The success of this led to his construction of two similar houses, the Villas Jacquemet and Stotzer, in the same area. In Florence, he visited the Florence Charterhouse in Galluzzo, which made an impression on him. I would have liked to live in one of what they called their cells and it was the solution for a unique kind of workers housing, or rather for a terrestrial paradise. In 1911, he traveled again for five months, this time he journeyed to the Balkans and visited Serbia, Bulgaria, Turkey, Greece, as well as Pompeii and Rome. Filling nearly 80 sketchbooks with renderings of what he saw—including many sketches of the Parthenon and he spoke of what he saw during this trip in many of his books, and it was the subject of his last book, Le Voyage dOrient
27.
Amedeo Modigliani
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Amedeo Clemente Modigliani was an Italian Jewish painter and sculptor who worked mainly in France. He is known for portraits and nudes in a style characterized by elongation of faces and figures, that were not received well during his lifetime. Modigliani spent his youth in Italy, where he studied the art of antiquity, there he came into contact with prominent artists such as Pablo Picasso and Constantin Brâncuși. Modiglianis œuvre includes paintings and drawings, from 1909 to 1914, however, he devoted himself mainly to sculpture. His main subject was portraits and full figures of humans, both in the images and in the sculptures, during his life, Amedeo Modigliani had little success, but after his death he achieved greater popularity and his works of art achieved high prices. He died at age 35 in Paris of tubercular meningitis, Modigliani was born into a Sephardic Jewish family in Livorno, Italy. A port city, Livorno had long served as a refuge for those persecuted for their religion and his maternal great-great-grandfather, Solomon Garsin, had immigrated to Livorno in the 18th century as a refugee. Fluent in many languages, her ancestors were authorities on sacred Jewish texts and had founded a school of Talmudic studies, family legend traced the family lineage to the 17th-century Dutch philosopher Baruch Spinoza. The family business was an agency with branches in Livorno, Marseille, Tunis. Modigliani’s father, Flaminio, was a member of an Italian Jewish family of successful businessmen, while not as culturally sophisticated as the Garsins, they knew how to invest in and develop thriving business endeavors. When the Garsin and Modigliani families announced the engagement of their children and he managed the mine in Sardinia and also managed the almost 30,000 acres of timberland the family owned. A reversal in fortune occurred to this family in 1883. An economic downturn in the price of metal plunged the Modiglianis into bankruptcy, ever resourceful, Modigliani’s mother used her social contacts to establish a school and, along with her two sisters, made the school into a successful enterprise. Modigliani was the child, whose birth coincided with the disastrous financial collapse of his fathers business interests. Amedeos birth saved the family from ruin, according to an ancient law, the bailiffs entered the familys home just as Eugenia went into labour, the family protected their most valuable assets by piling them on top of her. Modigliani had a relationship with his mother, who taught him at home until he was 10. Beset with health problems after an attack of pleurisy when he was about 11, when he was 16 he was taken ill again and contracted the tuberculosis which would later claim his life. After Modigliani recovered from the bout of pleurisy, his mother took him on a tour of southern Italy, Naples, Capri, Rome and Amalfi
28.
Crystal Cubism
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Crystal Cubism is a distilled form of Cubism consistent with a shift, between 1915 and 1916, towards a strong emphasis on flat surface activity and large overlapping geometric planes. The primacy of the geometric structure, rooted in the abstract. The tightening of the compositions, the clarity and sense of reflected in these works, led to its being referred to by the French poet. The collective phenomenon of Cubism once again—now in its advanced revisionist form—became part of a widely discussed development in French culture, in terms of the separation of culture and life, the Crystal Cubist period emerges as the most important in the history of Modernism. Cubism, from its inception, stems from the dissatisfaction with the idea of form that had been in practiced since the Renaissance, Cézanne was preoccupied by the means of rendering volume and space, surface variations with overlapped shifting planes. Increasingly in his works, Cézanne achieves a greater freedom. His work became bolder, more arbitrary, more dynamic and increasingly nonrepresentational, as his color planes acquired greater formal independence, defined objects and structures began to lose their identity. Where before, the pillars of academicism had been shaken. It was a regeneration, writes Gleizes, indicating the emergence of a wholly new cast of mind. Every season it appeared renewed, growing like a living body, the Cubist method leading to 1912 has been considered analytical, entailing the decomposition of the subject matter, while subsequently synthetic, built on geometric construction. The terms Analytic Cubism and Synthetic Cubism originated through this distinction, by 1913 Cubism had transformed itself considerably in the range of spatial effects. At the 1913 Salon dAutomne, a salon in which the tendency was Cubism, Metzinger exhibited En Canot, Gleizes Les Bâteaux de Pêche. In these works, more so than before, can be seen the importance of the plane in the overall composition. At the outset of the First World War many artists were mobilized, Metzinger, Gleizes, Braque, Léger, de La Fresnaye, despite the brutal interruption, each found the time to continue making art, sustaining differing types of Cubism. Yet they discovered a link between the Cubist syntax and that of the anonymity and novelty of mechanized warfare. Cubism evolved as much a result of an evasion of the atrocities of war as of nationalistic pressures. Along with the evasion came the need to further and further away from the depiction of things. As the rift between art and life grew, so too came the burgeoning need for a process of distillation and this period of profound reflection contributed to the constitution of a new mindset, a prerequisite for fundamental change
29.
Kunstmuseum Basel
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The Kunstmuseum Basel houses the largest and most significant public art collection in Switzerland, and is listed as a heritage site of national significance. Its collection is distinguished by a wide historic span, from the early 15th century up to the immediate present. Its various areas of emphasis give it international standing as one of the most significant museums of its kind and these encompass, paintings and drawings by artists active in the Upper Rhine region between 1400 and 1600, and on the art of the 19th to 21st centuries. The Kunstmuseum possesses the largest collection of works by the Holbein family, further examples of Renaissance art include important pieces by such masters as Konrad Witz, Hans Baldung, Martin Schongauer, Lucas Cranach the Elder and Mathias Grünewald. The main features of the 17th and 18th centuries are the Flemish and Dutch schools, German, in the 20th century, the focus is on works of Cubism with Picasso, Braque and Juan Gris. Expressionism is represented by figures as Edvard Munch, Franz Marc, Oskar Kokoschka. The collection also includes works from Constructivism, Dadaism and Surrealism, further highlights are the unique compilations of works from Pablo Picasso, Fernand Léger, Paul Klee, Alberto Giacometti and Marc Chagall. R. Penck, Brice Marden, Bruce Nauman, Jonathan Borofsky, Roni Horn, Francesco Clemente, Mimmo Paladino, Enzo Cucchi, Martin Disler, Leiko Ikemura, Markus Raetz, Rosemarie Trockel, the Kunstmuseum’s main building dates from 1936. In 2008, the acquired land on the other side of Dufourstrasse. With international stars — Zaha Hadid, Rafael Moneo, Tadao Ando and Jean Nouvel — all pitching, eventually a local firm, Christ & Gantenbein. The final design is a building, faced with concrete bricks. Building work for the $112 million project began in 2013 and was inaugurated in April 2016, the project was funded by the Canton of Basel-Stadt and the Laurenz Foundation, set up by Maja Oeri. The extension adds 2,750 square meters of galleries, to a total of nearly 10,000 square meters, the original museum now houses art from the 15th century to 1950, with later works in the extension. The upper floor of the new building houses temporary exhibitions and the middle floor, in 2013, the Kunstmuseum had 238,000 visitors. Kunstmuseum Basel website Basel museums website
30.
Philadelphia Museum of Art
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The Philadelphia Museum of Art is an art museum originally chartered in 1876 for the Centennial Exposition in Philadelphia. The main museum building was completed in 1928 on Fairmount, a located at the northwest end of the Benjamin Franklin Parkway at Eakins Oval. The museum administers collections containing over 240,000 objects including major holdings of European, American and Asian origin, the various classes of artwork include sculpture, paintings, prints, drawings, photographs, armor and decorative arts. The attendance figure for the museum was 751,797 in 2015, the museum is also one of the largest art museums in the world based on gallery space. The museum also administers the historic houses of Mount Pleasant and Cedar Grove. The museum and its annexes are owned by the City of Philadelphia, as of 2017, the standard adult admission price is $20 which allows entrance to the main building and all annexes for two consecutive days. The museum is closed on Mondays except on some holidays, several special exhibitions are held in the museum every year, including touring exhibitions arranged with other museums in the United States and abroad. Special exhibitions may have a charge for entrance. Philadelphia celebrated the 100th anniversary of the Declaration of Independence with the 1876 Centennial Exposition and its art building, Memorial Hall, was intended to outlast the Exhibition and house a permanent museum. The Pennsylvania Museum and School of Industrial Art opened on May 10,1877 and its permanent collection began with objects from the Exhibition and gifts from the public impressed with the Exhibitions ideals of good design and craftsmanship. European and Japanese fine and decorative art objects and books for the Museums library were among the first donations, the location outside of Center City, however, was fairly distant from many of the citys inhabitants. Admission was charged until 1881, then was dropped until 1962, starting in 1882, Clara Jessup Moore donated a remarkable collection of antique furniture, enamels, carved ivory, jewelry, metalwork, glass, ceramics, books, textiles and paintings. The Countess de Brazzas lace collection was acquired in 1894 forming the nucleus of the lace collection, in 1893 Anna H. Wilstach bequeathed a large painting collection, including many American paintings, and an endowment of half a million dollars for additional purchases. Works by James Abbott McNeill Whistler and George Inness were purchased within a few years, in the early 1900s, the Museum started an education program for the general public, as well as a membership program. Fiske Kimball was the director during the rapid growth of the 1920s. After World War II the collections grew with gifts, such as the John D. McIlhenny, early modern art dominated the growth of the collections in the 1950s, with acquisitions of the Louise and Walter Arensberg and the A. E. Gallatin collections. The gift of Philadelphian Grace Kellys wedding dress is perhaps the best known gift of the 1950s, extensive renovation of the building lasted from the 1960s through 1976. Major acquisitions included the Carroll S. Tyson, Jr. and Samuel S. White III and Vera White collections,71 objects from designer Elsa Schiaparelli, in 1976 there were celebrations and special exhibitions for the centennial of the Museum and the bicentennial of the nation
31.
Ballet
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Ballet /ˈbæleɪ/ is a type of performance dance that originated in the Italian Renaissance courts of the 15th century and later developed into a concert dance form in France and Russia. It has since become a widespread, highly technical form of dance with its own based on French terminology. It has been influential and has defined the foundational techniques used in many other dance genres. Becoming a ballet dancer requires years of training, Ballet has been taught in various schools around the world, which have historically incorporated their own cultures to evolve the art. Ballet may also refer to a dance work, which consists of the choreography. A well-known example of this is The Nutcracker, a ballet that was originally choreographed by Marius Petipa. Ballets are choreographed and performed by trained artists, the word came into English usage from the French around 1630. Ballet originated in the Italian Renaissance courts of the 15th and 16th centuries before being spread from Italy to France by an Italian aristocrat, Catherine de Medici, in France, ballet developed even further under her aristocratic influence. The dancers in these early court ballets were mostly noble amateurs, Ballets in this period were lengthy and elaborate and often served a political purpose. Ornamented costumes were meant to impress viewers and restricted freedom of movement. The ballets were performed in large chambers with viewers on three sides, French court ballet reached its height under the reign of King Louis XIV. Known as the Sun King, Louis symbolized the brilliance of France, in 1661 Louis founded the Académie Royale de Danse to establish standards and certify dance instructors. In 1672, Louis XIV made Jean-Baptiste Lully the director of the Académie Royale de Musique from which the first professional ballet company, Lully is considered the most important composer of music for ballets de cour and instrumental to the development of the form. Ballet went into decline in France after 1830, though it continued to develop in Denmark, Italy, the arrival in Europe on the eve of First World War of the Ballets Russes of Sergei Diaghilev, revived interest in the ballet and started the modern era. The Russian choreographer Michel Fokine challenged tradition and called for reforms that reinvigorated ballet as an art form, in the 20th century, ballet had a wide influence on other dance genres, and subgenres of ballet have also evolved. In the United States, choreographer George Balanchine developed what is now known as neoclassical ballet, other developments include contemporary ballet and post-structural ballet. Also in the century, ballet took a turn dividing it from classical ballet to the introduction of modern dance. Stylistic variations have emerged and evolved since the Italian Renaissance, early, classical variations are primarily associated with geographic origin
32.
Stage set
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The set designer produces a scale model, scale drawings, paint elevations, and research about props, textures, and so on. In theater, the director or production manager is the person responsible for evaluating the finished designs and considering budget. He or she engineers the scenery, has it redrafted for building, budgets time, crew and materials, technical directors often have assistant technical directors whose duties can range from drafting to actually building scenery. A scene shop, in production is often overseen by a shop foreman or master carpenter. This person assigns tasks, does direct supervision of carpenters, and deals with matters such as absences, breaks, tool repair. The staff of a shop is usually referred to as scenic carpenters, but within that there are many specialities such as plasterers, welders. Scenic painting is an aspect of scenic construction, although the scenic painter usually answers to the technical director. In major film production in England, a Supervising Art Director is responsible for a team of Art Directors, Construction supervisors interpret the drawings and allocate labor and resources, with the Production Designer giving approval of the finished set on the Directors behalf. Film construction is rigidly compartmentalized on major motion pictures, a prop making workshop is set up in a similar stage and may be paid for out of a Construction or Art Department budget depending on the nature and size of the props in question. The construction department is led by a construction coordinator, the coordinator reports to the art director and production designer and is in charge of budgeting and implementing designs. The construction coordinator has a general foreman to assist, next there are other foremen, lead carpenters called gang bosses, and then all of the carpenters and craftsmen. In the United States, set construction workers are members of the entertainment union, IATSE. Sound stage Stagecraft Staging Theatrical scenery Film sculptor
33.
Sergei Diaghilev
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Sergei Diaghilev was born to a wealthy and cultured family in Selishchi, Russia, his father, Pavel Pavlovich, was a cavalry colonel, but the familys money came mainly from vodka distilleries. After the death of Sergeis mother, his father married Elena Valerianovna Panaeva, the family lived in Perm but had an apartment in Saint Petersburg and a country estate in Bikbarda. In 1890, Sergeis parents went bankrupt, having for a time lived beyond their means. After graduating in 1892 he abandoned his dreams of composition, during his years at University, Diaghilevs cousin Dmitry Filosofov introduced him to a circle of art-loving friends who called themselves The Nevsky Pickwickians. They included Alexandre Benois, Walter Nouvel, Konstantin Somov, although not instantly received into the group, Diaghilev was aided by Benois in developing his knowledge of Russian and Western art. In two years, he had voraciously absorbed this new obsession and came to be respected as one of the most learned of the group, with financial backing from Savva Mamontov and Princess Maria Tenisheva, the group founded the journal Mir iskusstva. In 1899, Diaghilev became special assistant to Prince Sergei Mikhaylovich Volkonsky, in 1900–1901 Volkonsky entrusted Diaghilev with the staging of Léo Delibes ballet Sylvia, a favorite of Benois. The two collaborators concocted an elaborate plan that startled the established personnel of the Imperial Theatres. At the same time, some of Diaghilevs researchers hinted at his homosexuality as the cause for this conflict. However, his homosexuality had been known long before he was invited into the Imperial Theatres. In the following year he took a major exhibition of Russian art to the Petit Palais in Paris and it was the beginning of a long involvement with France. In 1907 he presented five concerts of Russian music in Paris and this led to an invitation to return the following year with ballet as well as opera, and thus to the launching of his famous Ballets Russes. The company included the best young Russian dancers, among them Anna Pavlova, Adolph Bolm, Vaslav Nijinsky, Tamara Karsavina and Vera Karalli, and their first night on 19 May 1909 was a sensation. During these years Diaghilevs stagings included several compositions by the late Nikolai Rimsky-Korsakov, such as the operas The Maid of Pskov, May Night and his choreographer Michel Fokine often adapted the music for ballet. Diaghilev also worked with dancer and ballet master Léonide Massine, the artistic director for the Ballets Russes was Léon Bakst. Together they developed a complicated form of ballet with show-elements intended to appeal to the general public. The exotic appeal of the Ballets Russes had an effect on Fauvist painters, coco Chanel is said to have stated that Diaghilev invented Russia for foreigners. Perhaps Diaghilevs most notable composer-collaborator, however, was Igor Stravinsky, Diaghilev heard Stravinskys early orchestral works Fireworks and Scherzo fantastique, and was impressed enough to ask Stravinsky to arrange some pieces by Chopin for the Ballets Russes
34.
Ballets Russes
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The Ballets Russes was an itinerant ballet company based in Paris that performed between 1909 and 1929 throughout Europe and on tours to North and South America. The company never performed in Russia, where the Revolution disrupted society, after its initial Paris season, the company had no formal ties there. It also introduced European and American audiences to tales, music, the influence of the Ballets Russes lasts to the present day. The French plural form of the name, “Ballets Russes, ” specifically refers to the company founded by Sergei Diaghilev and active during his lifetime. ”To add to the confusion, some publicity material spelt the name in the singular. The names “Ballet Russe de Monte Carlo” and “The Original Ballet Russe” refer to companies that formed after Diaghilevs death in 1929, Sergei Diaghilev, the companys impresario, was chiefly responsible for its success. He was uniquely prepared for the role, born into a wealthy Russian family of vodka distillers, he was accustomed to moving in the upper-class circles that provided the companys patrons and benefactors. In 1890 he enrolled at the Faculty of Law, St. Petersburg, from childhood, Diaghilev had been passionately interested in music. His ambition to become a composer was dashed when Nikolai Rimsky-Korsakov told him he had no talent, in 1898, several members of The Pickwickians founded the journal Mir iskusstva under the editorship of Diaghilev. As early as 1902, Mir iskusstva included reviews of concerts, operas, the latter were chiefly written by Alexandre Benois, who exerted considerable influence on Diaghilevs thinking. Mir iskusstva also sponsored exhibitions of Russian art in St. Petersburg and its enormous success created a Parisian fascination with all things Russian. Diaghilev organized a 1907 season of Russian music at the Paris Opéra, in 1908, Diaghilev returned to the Paris Opéra with six performances of Mussorgskys opera Boris Godunov, starring basso Fyodor Chaliapin. The performances were a sensation, though the costs of producing grand opera were crippling, in 1909, Diaghilev presented his first Paris Saison Russe devoted exclusively to ballet. Most of this company were resident performers at the Imperial Ballet of Saint Petersburg. The first seasons featured a variety of works chiefly choreographed by Michel Fokine, including Le Pavillon dArmide, the Polovtsian Dances from Prince Igor, Les Sylphides. The season also included Le Festin, a set by several choreographers to music by several Russian composers. The Ballets Russes was noted for the standard of its dancers, most of whom had been classically trained at the great Imperial schools in Moscow. Their high technical standards contributed a great deal to the success in Paris. The Ballets Russes was even more remarkable for raising the status of the dancer, largely ignored by choreographers
35.
University of Paris
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The University of Paris, metonymically known as the Sorbonne, was a university in Paris, France. Emerging around 1150 as an associated with the cathedral school of Notre Dame de Paris. Vast numbers of popes, royalties, scientists and intellectuals were educated at the University of Paris, following the turbulence of the French Revolution, education was suspended in 1793 whereafter its faculties were partly reorganised by Napoleon as the University of France. In 1896, it was renamed again to the University of Paris, in 1970, following the May 1968 events, the university was divided into 13 autonomous universities. Others, like Panthéon-Sorbonne University, chose to be multidisciplinary, in 1150, the future University of Paris was a student-teacher corporation operating as an annex of the Notre-Dame cathedral school. The university had four faculties, Arts, Medicine, Law, the Faculty of Arts was the lowest in rank, but also the largest, as students had to graduate there in order to be admitted to one of the higher faculties. The students were divided into four nationes according to language or regional origin, France, Normandy, Picardy, the last came to be known as the Alemannian nation. Recruitment to each nation was wider than the names might imply, the faculty and nation system of the University of Paris became the model for all later medieval universities. Under the governance of the Church, students wore robes and shaved the tops of their heads in tonsure, students followed the rules and laws of the Church and were not subject to the kings laws or courts. This presented problems for the city of Paris, as students ran wild, students were often very young, entering the school at age 13 or 14 and staying for 6 to 12 years. Three schools were especially famous in Paris, the palatine or palace school, the school of Notre-Dame, the decline of royalty brought about the decline of the first. The other two were ancient but did not have much visibility in the early centuries, the glory of the palatine school doubtless eclipsed theirs, until it completely gave way to them. These two centres were much frequented and many of their masters were esteemed for their learning, the first renowned professor at the school of Ste-Geneviève was Hubold, who lived in the tenth century. Not content with the courses at Liège, he continued his studies at Paris, entered or allied himself with the chapter of Ste-Geneviève, and attracted many pupils via his teaching. Distinguished professors from the school of Notre-Dame in the century include Lambert, disciple of Fulbert of Chartres, Drogo of Paris, Manegold of Germany. Three other men who added prestige to the schools of Notre-Dame and Ste-Geneviève were William of Champeaux, Abélard, humanistic instruction comprised grammar, rhetoric, dialectics, arithmetic, geometry, music, and astronomy. To the higher instruction belonged dogmatic and moral theology, whose source was the Scriptures and it was completed by the study of Canon law. The School of Saint-Victor arose to rival those of Notre-Dame and Ste-Geneviève and it was founded by William of Champeaux when he withdrew to the Abbey of Saint-Victor
36.
Berlin
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Berlin is the capital and the largest city of Germany as well as one of its constituent 16 states. With a population of approximately 3.5 million, Berlin is the second most populous city proper, due to its location in the European Plain, Berlin is influenced by a temperate seasonal climate. Around one-third of the area is composed of forests, parks, gardens, rivers. Berlin in the 1920s was the third largest municipality in the world, following German reunification in 1990, Berlin once again became the capital of all-Germany. Berlin is a city of culture, politics, media. Its economy is based on high-tech firms and the sector, encompassing a diverse range of creative industries, research facilities, media corporations. Berlin serves as a hub for air and rail traffic and has a highly complex public transportation network. The metropolis is a popular tourist destination, significant industries also include IT, pharmaceuticals, biomedical engineering, clean tech, biotechnology, construction and electronics. Modern Berlin is home to world renowned universities, orchestras, museums and its urban setting has made it a sought-after location for international film productions. The city is known for its festivals, diverse architecture, nightlife, contemporary arts. Since 2000 Berlin has seen the emergence of a cosmopolitan entrepreneurial scene, the name Berlin has its roots in the language of West Slavic inhabitants of the area of todays Berlin, and may be related to the Old Polabian stem berl-/birl-. All German place names ending on -ow, -itz and -in, since the Ber- at the beginning sounds like the German word Bär, a bear appears in the coat of arms of the city. It is therefore a canting arm, the first written records of towns in the area of present-day Berlin date from the late 12th century. Spandau is first mentioned in 1197 and Köpenick in 1209, although these areas did not join Berlin until 1920, the central part of Berlin can be traced back to two towns. Cölln on the Fischerinsel is first mentioned in a 1237 document,1237 is considered the founding date of the city. The two towns over time formed close economic and social ties, and profited from the right on the two important trade routes Via Imperii and from Bruges to Novgorod. In 1307, they formed an alliance with a common external policy, in 1415 Frederick I became the elector of the Margraviate of Brandenburg, which he ruled until 1440. In 1443 Frederick II Irontooth started the construction of a new palace in the twin city Berlin-Cölln
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