1.
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
2.
Nazarene movement
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The name Nazarene was adopted by a group of early 19th century German Romantic painters who aimed to revive honesty and spirituality in Christian art. The name Nazarene came from a term of derision used against them for their affectation of a manner of clothing. In 1809, six students at the Vienna Academy formed a cooperative in Vienna called the Brotherhood of St. Luke or Lukasbund. In 1810 four of them, Johann Friedrich Overbeck, Franz Pforr, Ludwig Vogel and Johann Konrad Hottinger moved to Rome and they were joined by Philipp Veit, Peter von Cornelius, Julius Schnorr von Carolsfeld, Friedrich Wilhelm Schadow and a loose grouping of other German artists. They met up with Austrian romantic landscape artist Joseph Anton Koch who became a tutor to the group. In 1827 they were joined by Joseph von Führich, the principal motivation of the Nazarenes was a reaction against Neoclassicism and the routine art education of the academy system. In Rome the group lived an existence, as a way of re-creating the nature of the medieval artists workshop. Religious subjects dominated their output, and two major commissions allowed them to attempt a revival of the art of fresco painting. Two fresco series were completed in Rome for the Casa Bartholdy and the Casino Massimo, however, by 1830 all except Overbeck had returned to Germany and the group had disbanded. Many Nazarenes became influential teachers in German art academies, middle Ages in history German Romanticism Nazarenes in the History of Art Preraphaelites Purismo Gabriel Wüger Mitchell Benjamin Frank. Romantic Painting Redefined, Nazarene Tradition and the Narratives of Romanticism, ashgate Publishing,2001, ISBN 0-7546-0477-2 Cordula Grewe. Painting the Sacred in the Age of German Romanticism, “Making of a Romantic Icon, The Religious Context of Friedrich Overbeck’s ‘Italia und Germania. ’” American Philosophical Society,2007. Unwilling Moderns, The Nazarene Painters of the Nineteenth Century in Nineteenth-Century Art Worldwide - Volume 2, Issue 3, Autumn 2003
3.
Leipzig
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Leipzig is the largest city in the federal state of Saxony, Germany. With a population of 570,087 inhabitants it is Germanys tenth most populous city, Leipzig is located about 160 kilometres southwest of Berlin at the confluence of the White Elster, Pleisse, and Parthe rivers at the southern end of the North German Plain. Leipzig has been a city since at least the time of the Holy Roman Empire. The city sits at the intersection of the Via Regia and Via Imperii, Leipzig was once one of the major European centers of learning and culture in fields such as music and publishing. Leipzig became an urban center within the German Democratic Republic after the Second World War. Leipzig later played a significant role in instigating the fall of communism in Eastern Europe, through events which took place in, Leipzig today is an economic center and the most livable city in Germany, according to the GfK marketing research institution. Since the opening of the Leipzig City Tunnel in 2013, Leipzig forms the centerpiece of the S-Bahn Mitteldeutschland public transit system, Leipzig is currently listed as Gamma World City and Germanys Boomtown. Outside of Leipzig the Neuseenland district forms a lake area of approximately 300 square kilometres. Leipzig is derived from the Slavic word Lipsk, which means settlement where the linden trees stand, an older spelling of the name in English is Leipsic. The Latin name Lipsia was also used, the name is cognate with Lipetsk in Russia and Liepāja in Latvia. In 1937 the Nazi government officially renamed the city Reichsmessestadt Leipzig, the common usage of this nickname for Leipzig up until the present is reflected, for example, in the name of a popular blog for local arts and culture, Heldenstadt. de. Leipzig was first documented in 1015 in the chronicles of Bishop Thietmar of Merseburg as urbs Libzi and endowed with city, Leipzig Trade Fair, started in the Middle Ages, became an event of international importance and is the oldest remaining trade fair in the world. During the Thirty Years War, two battles took place in Breitenfeld, about 8 kilometres outside Leipzig city walls, the first Battle of Breitenfeld took place in 1631 and the second in 1642. Both battles resulted in victories for the Swedish-led side, on 24 December 1701, an oil-fueled street lighting system was introduced. The city employed light guards who had to follow a schedule to ensure the punctual lighting of the 700 lanterns. The Leipzig region was the arena of the 1813 Battle of Leipzig between Napoleonic France and a coalition of Prussia, Russia, Austria and Sweden. It was the largest battle in Europe prior to the First World War, in 1913 the Monument to the Battle of the Nations celebrating the centenary of this event was completed. The railway station has two entrance halls, the eastern one for the Royal Saxon State Railways and the western one for the Prussian state railways
4.
Veit Hanns Schnorr von Carolsfeld
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Not to be confused with Veit Hans Schnorr von Carolsfeld, mining magnate Veit Hanns Friedrich Schnorr von Carolsfeld was a German portraitist. He was a friend of the poet Johann Gottfried Seume, whom he set out to accompany in 1801 on a journey to Syracuse, Sicily, in 1803 he returned to Leipzig and became an assistant teacher at the Leipzig Academy of Art. In 1814, after the death of Johann Friedrich August Tischbein, he became director and his works include, among many others, portraits of Seume and Friedrich Rochlitz
5.
Academy of Fine Arts Vienna
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The Academy of Fine Arts Vienna is a public art school of higher education in Vienna, Austria. In 1701 he was ennobled by Emperor Joseph I as Freiherr of the Empire, with his death in 1714, the academy temporarily closed. On 20 January 1725, Emperor Charles VI appointed the Frenchman Jacob van Schuppen as Prefect and Director of the Academy, hofakademie der Maler, Bildhauer und Baukunst. Upon Charles death in 1740, the academy at first declined, however during the rule of his daughter Empress Maria Theresa, a new statute reformed the academy in 1751. The prestige of the academy grew during the deanships of Michelangelo Unterberger and Paul Troger, in 1772, there were further reforms to the organisational structure. Chancellor Wenzel Anton Kaunitz integrated all existing art schools into the k. k. vereinigten Akademie der bildenden Künste, the word vereinigten was later dropped. In 1822 the art cabinet grew significantly with the bequest of honorary member Anton Franz de Paula Graf Lamberg-Sprinzenstein and his collection still forms the backbone of the art on display. In 1872 Emperor Franz Joseph I of Austria approved a statute making the academy the supreme government authority for the arts, a new building was constructed according to plans designed by the faculty Theophil Hansen in the course of the layout of the Ringstraße boulevard. On 3 April 1877, the building on Schillerplatz in the Innere Stadt district was inaugurated. In 1907 and 1908, young Adolf Hitler, who had come from Linz, was denied admission to the drawing class. He stayed in Vienna, subsisting on his allowance. Soon he had withdrawn into poverty and started selling amateur paintings, mostly watercolours, during the Austrian Anschluss to Nazi Germany from 1938–1945, the academy was forced to heavily reduce its number of Jewish staff. After World War II, the academy was reconstituted in 1955 and it has had university status since 1998, but retained its original name. It is currently the only Austrian university that doesnt have the university in its name. The Academy currently has about 900 students, almost a quarter of which are foreign students and its faculty includes stars such as Peter Sloterdijk. 110,000 volumes and its etching cabinet has about 150,000 drawings, the collection is one of the biggest in Austria, and is used for academic purposes, although portions are also open to the general public. Official website website of the Media Server Study in Austria, A Guide
6.
Johann Friedrich Overbeck
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Johann Friedrich Overbeck was a German painter and member of the Nazarene movement. Born in Lübeck, his ancestors for three generations had been Protestant pastors, his father Christian Adolph Overbeck was doctor of law, poet, mystic pietist and burgomaster of Lübeck. The young artist left Lübeck in March 1806, and entered as student the academy of Vienna, while Overbeck clearly accrued some of the polished technical aspects of the neoclassic painters, he was alienated by lack of religious spirituality in the themes chosen by his masters. After four years, their differences between his group and others in the academy had grown so irreconcilable, that Overbeck and his followers were expelled and he left for Rome, where he arrived in 1810, carrying his half-finished canvas of Christs Entry into Jerusalem. Rome became for 59 years the centre of his labor, Overbeck in 1813 joined the Roman Catholic Church, and thereby he believed that his art received Christian baptism. The subjects which fell to the lot of Overbeck were the Seven Years of Famine and Joseph sold by his Brethren, after ten years delay, the overtaxed and enfeebled painter delegated the completion of the frescoes to his friend Joseph von Führich. Overbeck was elected a Foreign Honorary Member of the American Academy of Arts and he was interred in the church of San Bernardo alle Terme. Portrait of the Painter Franz Pforra Vittoria Caldoni Christs Entry into Jerusalem, christus am Ölberg Italy and Germany Christs Agony in the Garden, in the great hospital, Hamburg. Lo Sposalizio, Muzeum Narodowe, Poznań, Poland, the Triumph of Religion in the Arts, in the Städel Institute, Frankfurt. Lamentation of Christ The Incredulity of St. Thomas, first in the possession of Beresford Hope, London, now in the Schäfer collection, Schweinfurt, the Assumption of the Madonna, in Cologne Cathedral. The Ascension of the Virgin Mary Christ Delivered from the Jews, tempera, the Seven Sacraments Baptism 1862–64, Neue Pinakothek, Munich Drawings for the frescoes for the Cathedral of St. Peter and St. Paul in Đakovo. His nephew Johannes Overbeck, a professor of archaeology at the University of Leipzig, was noted for his work in art history, in 1843 the Church of St. John the Baptist, Penymynydd, North Wales was built by the Glynne Family of Hawarden, Flintshire. The first vicar, Rev. Lionel Gossman, “Making of a Romantic Icon, The Religious Context of Friedrich Overbeck’s ‘Italia und Germania. ’” American Philosophical Society,2007. At dianepub. wordpress. com This article incorporates text from a now in the public domain, Chisholm, Hugh, ed. Overbeck. Thurston, H. T. Colby, F. M. eds, Johann Friedrich Overbeck in the History of Art Italy and Germany Reproduction Overbeck by J
7.
Joseph Anton Koch
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Joseph Anton Koch was an Austrian painter of Neoclassicism and later the German Romantic movement, he is perhaps the most significant neoclassical landscape painter. The Tyrolese painter was born in Elbigenalp and he early in his life he was tending cattle. Through the recommendation of Bishop Umgelder, he received training in the Karlsschule Stuttgart. In 1791, he ran away, and traveled through France and he arrived in Rome in 1795. Koch was close to the painter Asmus Jacob Carstens and carried on Carstens heroic art and he etched the pages of Carstens Les Argonautes, selon Pindar, Orphée et Apollonius de Rhode. After 1800, Koch developed as a landscape painter, in Rome, he espoused a new type of heroic landscape, revising the classical compositions of Poussin and Lorrain with a more rugged, mountainous scenery. In 1812, forced through inadequate income from his work, or in protest of the French invasion, he went to Vienna and he stayed in Vienna until 1815. During this period, he incorporated more non-classical themes in his work, in Vienna, he was influenced by Friedrich Schlegel and enthusiasts of old German art. In response, his style became harsher, Koch returned to Rome, and became a conspicuous figure in the German artists colony there. He wrote Moderne Kunstchronik oder die rumfordische Suppe gekocht und geschrieben von J. A. Koch which was directed humorously against unjustifiable criticism, kochs last years were spent in great poverty. He died in Rome, where he was buried in the Teutonic Cemetery and he contributed American landscape scenes to the works of Alexander von Humboldt. New Haven and London, Yale University Press, pp. 37–38, ISBN 0-300-02387-1 Attribution This article incorporates text from a publication now in the public domain, Rines, George Edwin, ed. Koch, Joseph Anton. This article incorporates text from a now in the public domain, Gilman. Thurston, H. T. Colby, F. M. eds
8.
Rome
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Rome is a special comune and the capital of Italy. Rome also serves as the capital of the Lazio region, with 2,873,598 residents in 1,285 km2, it is also the countrys largest and most populated comune and fourth-most populous city in the European Union by population within city limits. It is the center of the Metropolitan City of Rome, which has a population of 4.3 million residents, the city is located in the central-western portion of the Italian Peninsula, within Lazio, along the shores of the Tiber. Romes history spans more than 2,500 years, while Roman mythology dates the founding of Rome at only around 753 BC, the site has been inhabited for much longer, making it one of the oldest continuously occupied sites in Europe. The citys early population originated from a mix of Latins, Etruscans and it was first called The Eternal City by the Roman poet Tibullus in the 1st century BC, and the expression was also taken up by Ovid, Virgil, and Livy. Rome is also called the Caput Mundi, due to that, Rome became first one of the major centres of the Italian Renaissance, and then the birthplace of both the Baroque style and Neoclassicism. Famous artists, painters, sculptors and architects made Rome the centre of their activity, in 1871 Rome became the capital of the Kingdom of Italy, and in 1946 that of the Italian Republic. Rome has the status of a global city, Rome ranked in 2014 as the 14th-most-visited city in the world, 3rd most visited in the European Union, and the most popular tourist attraction in Italy. Its historic centre is listed by UNESCO as a World Heritage Site, monuments and museums such as the Vatican Museums and the Colosseum are among the worlds most visited tourist destinations with both locations receiving millions of tourists a year. Rome hosted the 1960 Summer Olympics and is the seat of United Nations Food, however, it is a possibility that the name Romulus was actually derived from Rome itself. As early as the 4th century, there have been alternate theories proposed on the origin of the name Roma. There is archaeological evidence of occupation of the Rome area from approximately 14,000 years ago. Evidence of stone tools, pottery and stone weapons attest to about 10,000 years of human presence, several excavations support the view that Rome grew from pastoral settlements on the Palatine Hill built above the area of the future Roman Forum. Between the end of the age and the beginning of the Iron age. However, none of them had yet an urban quality, nowadays, there is a wide consensus that the city was gradually born through the aggregation of several villages around the largest one, placed above the Palatine. All these happenings, which according to the excavations took place more or less around the mid of the 8th century BC. Despite recent excavations at the Palatine hill, the view that Rome has been indeed founded with an act of will as the legend suggests in the middle of the 8th century BC remains a fringe hypothesis. Traditional stories handed down by the ancient Romans themselves explain the earliest history of their city in terms of legend and myth
9.
Fra Angelico
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Fra Angelico was an Early Italian Renaissance painter described by Vasari in his Lives of the Artists as having a rare and perfect talent. He was known to contemporaries as Fra Giovanni da Fiesole and Fra Giovanni Angelico, in modern Italian he is called il Beato Angelico, the common English name Fra Angelico means the Angelic friar. In 1982 Pope John Paul II proclaimed his beatification in recognition of the holiness of his life and he is listed in the Roman Martyrology as Beatus Ioannes Faesulanus, cognomento Angelicus—Blessed Giovanni of Fiesole, surnamed the Angelic. Fra Angelico was born Guido di Pietro at Rupecanina in the Tuscan area of Mugello near Fiesole towards the end of the 14th century, nothing is known of his parents. He was baptized Guido or Guidolino, the earliest recorded document concerning Fra Angelico dates from October 17,1417 when he joined a religious confraternity or guild at the Carmine Church, still under the name of Guido di Pietro. The first record of Angelico as a friar dates from 1423, Fra, a contraction of frater, is a conventional title for a mendicant friar. According to Vasari, Fra Angelico initially received training as an illuminator, possibly working with his older brother Benedetto who was also a Dominican and an illuminator. The former Dominican convent of San Marco in Florence, now a state museum, the painter Lorenzo Monaco may have contributed to his art training, and the influence of the Sienese school is discernible in his work. He had several important charges in the convents he lived in, but this did not limit his art, according to Vasari, the first paintings of this artist were an altarpiece and a painted screen for the Charterhouse of Florence, none such exist there now. Between 1418 and 1436 he was at the convent of Fiesole, where he executed a number of frescoes for the church and the Altarpiece. A predella of the Altarpiece remains intact and is conserved in the National Gallery, London and it shows Christ in Glory surrounded by more than 250 figures, including beatified Dominicans. In 1436, Fra Angelico was one of a number of the friars from Fiesole who moved to the newly built convent or friary of San Marco in Florence, in 1439 Fra Angelico completed one of his most famous works, the San Marco Altarpiece at Florence. The result was unusual for its time, but in this instance, the saints stand squarely within the space, grouped in a natural way as if they were able to converse about the shared experience of witnessing the Virgin in glory. Paintings such as this, known as Sacred Conversations, were to become the major commissions of Giovanni Bellini, Perugino and Raphael. In 1445 Pope Eugene IV summoned him to Rome to paint the frescoes of the Chapel of the Holy Sacrament at St Peters, later demolished by Pope Paul III. Vasari claims that at this time Fra Angelico was offered the Archbishopric of Florence by Pope Nicholas V, the story seems possible and even likely. However, if Vasaris date is correct, then the pope must have been Eugene IV and not Nicholas, moreover, the Archbishop in 1446–1459 was the Dominican Antoninus of Florence, canonized by Pope Adrian VI in 1523. In 1447 Fra Angelico was in Orvieto with his pupil, Benozzo Gozzoli, among his other pupils were Zanobi Strozzi
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Schnorr von Karolsfeld, Julius". Encyclopædia Britannica (11th ed.). Cambridge University Press.
This article incorporates text from a publication now in the 
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