1.
Gelderland
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Gelderland is a province of the Netherlands, located in the central eastern part of the country. With a land area of nearly 5,000 km2, it is the largest province of the Netherlands and shares borders with six other provinces, however, both Nijmegen and Apeldoorn are larger cities, Nijmegen being the largest with nearly 170,000 inhabitants. Other major regional centres in Gelderland are Ede, Doetinchem, Zutphen, Tiel, Wageningen, Zevenaar, Gelderland had a population of just over two million in 2015. According to the Wichard saga, the city was named by the Lords of Pont who fought and they named the town they founded after the death rattle of the dragon, Gelre. Historically, the dates from states of the Holy Roman Empire. The County of Guelders arose out of the Frankish pagus Hamaland in the 11th century around castles near Roermond, the counts of Gelre acquired the Betuwe and Veluwe regions and, through marriage, the County of Zutphen. Thus the counts of Guelders laid the foundation for a power that, through control of the Rhine, Waal, Meuse. Further enlarged by the acquisition of the city of Nijmegen in the 13th century. After 1379, the duchy was ruled from Jülich and by the counts of Egmond, the duchy resisted Burgundian domination, but William, Duke of Jülich-Cleves-Berg was forced to cede it to Charles V in 1543, after which it formed part of the Burgundian-Habsburg hereditary lands. The duchy revolted with the rest of the Netherlands against Philip II of Spain, after the deposition of Philip II, its sovereignty was vested in the States of Gelderland, and the princes of Orange were stadtholders. In 1672, the province was occupied by Louis XIV and, in 1713. Part of the Batavian Republic, of Louis Bonaparte’s Kingdom of Holland, during the Second World War, it saw heavy fighting between Allied Paratroopers, British XXX Corps and the German II SS Panzer Corps, at the Battle of Arnhem
2.
Netherlands
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The Netherlands is the main constituent country of the Kingdom of the Netherlands. It is a densely populated country located in Western Europe with three territories in the Caribbean. The European part of the Netherlands borders Germany to the east, Belgium to the south, and the North Sea to the northwest, sharing borders with Belgium, the United Kingdom. The three largest cities in the Netherlands are Amsterdam, Rotterdam and The Hague, Amsterdam is the countrys capital, while The Hague holds the Dutch seat of parliament and government. The port of Rotterdam is the worlds largest port outside East-Asia, the name Holland is used informally to refer to the whole of the country of the Netherlands. Netherlands literally means lower countries, influenced by its low land and flat geography, most of the areas below sea level are artificial. Since the late 16th century, large areas have been reclaimed from the sea and lakes, with a population density of 412 people per km2 –507 if water is excluded – the Netherlands is classified as a very densely populated country. Only Bangladesh, South Korea, and Taiwan have both a population and higher population density. Nevertheless, the Netherlands is the worlds second-largest exporter of food and agricultural products and this is partly due to the fertility of the soil and the mild climate. In 2001, it became the worlds first country to legalise same-sex marriage, the Netherlands is a founding member of the EU, Eurozone, G-10, NATO, OECD and WTO, as well as being a part of the Schengen Area and the trilateral Benelux Union. The first four are situated in The Hague, as is the EUs criminal intelligence agency Europol and this has led to the city being dubbed the worlds legal capital. The country also ranks second highest in the worlds 2016 Press Freedom Index, the Netherlands has a market-based mixed economy, ranking 17th of 177 countries according to the Index of Economic Freedom. It had the thirteenth-highest per capita income in the world in 2013 according to the International Monetary Fund, in 2013, the United Nations World Happiness Report ranked the Netherlands as the seventh-happiest country in the world, reflecting its high quality of life. The Netherlands also ranks joint second highest in the Inequality-adjusted Human Development Index, the region called Low Countries and the country of the Netherlands have the same toponymy. Place names with Neder, Nieder, Nether and Nedre and Bas or Inferior are in use in all over Europe. They are sometimes used in a relation to a higher ground that consecutively is indicated as Upper, Boven, Oben. In the case of the Low Countries / the Netherlands the geographical location of the region has been more or less downstream. The geographical location of the region, however, changed over time tremendously
3.
Otterlo
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Otterlo is a small village in the province of Gelderland in the Netherlands, in or near the Nationaal Park De Hoge Veluwe. The Kröller-Müller Museum, named after Helene Kröller-Müller, is situated nearby and has a collection of Vincent van Gogh paintings. Otterlo was a municipality until 1818, when it merged with Ede. Media related to Otterlo at Wikimedia Commons J. Kuyper, Gemeente Atlas van Nederland, 1865-1870, map of the former municipality, around 1868. CBC Archives - CBC Radio reporting from Otterlo April 17,1945
4.
Geographic coordinate system
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A geographic coordinate system is a coordinate system used in geography that enables every location on Earth to be specified by a set of numbers, letters or symbols. The coordinates are chosen such that one of the numbers represents a vertical position. A common choice of coordinates is latitude, longitude and elevation, to specify a location on a two-dimensional map requires a map projection. The invention of a coordinate system is generally credited to Eratosthenes of Cyrene. Ptolemy credited him with the adoption of longitude and latitude. Ptolemys 2nd-century Geography used the prime meridian but measured latitude from the equator instead. Mathematical cartography resumed in Europe following Maximus Planudes recovery of Ptolemys text a little before 1300, in 1884, the United States hosted the International Meridian Conference, attended by representatives from twenty-five nations. Twenty-two of them agreed to adopt the longitude of the Royal Observatory in Greenwich, the Dominican Republic voted against the motion, while France and Brazil abstained. France adopted Greenwich Mean Time in place of local determinations by the Paris Observatory in 1911, the latitude of a point on Earths surface is the angle between the equatorial plane and the straight line that passes through that point and through the center of the Earth. Lines joining points of the same latitude trace circles on the surface of Earth called parallels, as they are parallel to the equator, the north pole is 90° N, the south pole is 90° S. The 0° parallel of latitude is designated the equator, the plane of all geographic coordinate systems. The equator divides the globe into Northern and Southern Hemispheres, the longitude of a point on Earths surface is the angle east or west of a reference meridian to another meridian that passes through that point. All meridians are halves of great ellipses, which converge at the north and south poles, the prime meridian determines the proper Eastern and Western Hemispheres, although maps often divide these hemispheres further west in order to keep the Old World on a single side. The antipodal meridian of Greenwich is both 180°W and 180°E, the combination of these two components specifies the position of any location on the surface of Earth, without consideration of altitude or depth. The grid formed by lines of latitude and longitude is known as a graticule, the origin/zero point of this system is located in the Gulf of Guinea about 625 km south of Tema, Ghana. To completely specify a location of a feature on, in, or above Earth. Earth is not a sphere, but a shape approximating a biaxial ellipsoid. It is nearly spherical, but has an equatorial bulge making the radius at the equator about 0. 3% larger than the radius measured through the poles, the shorter axis approximately coincides with the axis of rotation
5.
Art museum
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An art museum or art gallery is a building or space for the exhibition of art, usually visual art. Museums can be public or private, but what distinguishes a museum is the ownership of a collection, the term is used for both public galleries, which are non-profit or publicly owned museums that display selected collections of art. On the other hand, private galleries refers to the commercial enterprises for the sale of art, however, both types of gallery may host traveling exhibits or temporary exhibitions including art borrowed from elsewhere. In broad terms, in North American usage, the word gallery alone often implies a private gallery, the term contemporary art gallery refers usually to a privately owned for-profit commercial gallery. These galleries are found clustered together in large urban centers. Smaller cities are home to at least one gallery, but they may also be found in towns or villages. Contemporary art galleries are open to the general public without charge, however. They usually profit by taking a portion of art sales, from 25% to 50% is typical, there are also many non-profit or collective galleries. Some galleries in cities like Tokyo charge the artists a flat rate per day, curators often create group shows that say something about a certain theme, trend in art, or group of associated artists. Galleries sometimes choose to represent artists exclusively, giving them the opportunity to show regularly, a gallerys definition can also include the artist cooperative or artist-run space, which often operates as a space with a more democratic mission and selection process. A vanity gallery is an art gallery that charges fees from artists in order to show their work, the shows are not legitimately curated and will frequently or usually include as many artists as possible. Most art professionals are able to identify them on an artists resume, University art museums and galleries constitute collections of art that are developed, owned, and maintained by all kinds of schools, community colleges, colleges, and universities. This phenomenon exists in both the West and East, making it a global practice, although largely overlooked, there are over 700 university art museums in America alone. This number, in comparison to other kinds of art museums, throughout history, large and expensive works of art have generally been commissioned by religious institutions and monarchs and been displayed in temples, churches, and palaces. Although these collections of art were private, they were made available for viewing for a portion of the public. In classical times, religious institutions began to function as a form of art gallery. Wealthy Roman collectors of engraved gems and other precious objects often donated their collections to temples and it is unclear how easy it was in practice for the public to view these items. At the Palace of Versailles, entrance was restricted to wearing the proper apparel – the appropriate accessories could be hired from shops outside
6.
Sculpture garden
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A sculpture garden or sculpture park is an outdoor garden dedicated to the presentation of sculpture, usually several permanently sited works in durable materials in landscaped surroundings. A sculpture garden may be private, owned by a museum and accessible freely or for a fee, or public, some cities own large numbers of public sculptures, some of which they may present together in city parks. Exhibits range from individual, traditional sculptures to large site-specific installations, Sculpture gardens may also vary greatly in size and scope, either featuring the collected works of multiple artists, or the artwork of a single individual. Sculpture gardens have a long history around the world - the oldest known collection of constructions is a Neanderthal sculpture garden unearthed in Bruniquel Cave in France in 1990. Within the cave, broken stalagmites were arranged in a series of stacked or ring-like structures approximately 175,000 years ago, in the United States, the oldest public sculpture garden is a part of the joint park and wildlife preserve Brookgreen Gardens, located in South Carolina. The property was opened in 1932, and has since included on the National Register of Historic Places. Blázquez Abascal, Jimena, Valeria Varas, and Raúl Rispa, Sculpture Parks in Europe, A Guide to Art and Nature. Art Parks, A Tour of Americas Sculpture Parks and Gardens, ISBN 978-1616891299 Harper, Glenn, and Twylene Moyer, eds. Landscapes for Art, Contemporary Sculpture Parks, hamilton, NJ, ISC Press, and Seattle, University of Washington Press. ISBN 978-0295988610 Media related to Sculpture parks at Wikimedia Commons
7.
Hoge Veluwe National Park
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Nationaal Park De Hoge Veluwe is a Dutch national park in the province of Gelderland near the cities of Ede, Wageningen, Arnhem and Apeldoorn. It is approximately 55 square kilometers in area, consisting of heathlands, sand dunes and it is situated in the Veluwe, the area of the largest terminal moraine in the Netherlands. Most of the landscape of the park and the Veluwe was created during the last Ice Age, the alternating sand dune areas and heathlands may have been caused by human utilization of the surrounding lands. The park forms one of the largest continuous nature reserves in the Netherlands, the park was established by the businessman Anton Kröller and his wife Helene Kröller-Müller as an private estate in 1909. Up until 1923 the park was under construction with wildlife being imported, the hunting residence is called St. Hubertus Hunting Lodge after St. Hubertus and was designed by prominent Dutch architect Hendrik Petrus Berlage. Helene Kröller-Müller was an art collector and work had begun on a museum inside the park, due to worsening economic conditions the building of the museum was halted and the couple found themselves unable to keep the estate. In 1935 the art collection was donated to the State of the Netherlands, the park was handed over to a foundation, which received a loan from the State. At that time the estate became the national park in the Netherlands. The park is one of the two private owned national parks in the Netherlands, but the only one that asks an entrance fee. The park is surrounded by fences and these, combined with the required entrance fee, led to years of protests by cyclists and hikers who were forced either to pay the fee or else to follow lengthy detours. In 2007 a solution was reached by charging reduced fees for cyclists who spend only an amount of time within the confines of the park. There are three entrances, located at the villages of Otterlo, Hoenderloo and Schaarsbergen, there are several notable buildings inside the park. A second museum, Museonder, can be found at the visitor centre. Finally there is the aforementioned hunting residence which was designed by Hendrik Petrus Berlage, a bicycle sharing system in the park makes bicycles available for free to visitors, with much of the area being inaccessible by car. Hoge Veluwe. nl Pictures of Hoge Veluwe
8.
Vincent van Gogh
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Vincent Willem van Gogh was a Dutch Post-Impressionist painter who is among the most famous and influential figures in the history of Western art. In just over a decade he created about 2,100 artworks, including around 860 oil paintings and his suicide at 37 followed years of mental illness and poverty. Born into a family, Van Gogh drew as a child and was serious, quiet. As a young man he worked as an art dealer, often travelling and he turned to religion, and spent time as a Protestant missionary in southern Belgium. He drifted in ill health and solitude before taking up painting in 1881 and his younger brother Theo supported him financially, and the two kept up a long correspondence by letter. His early works, mostly still lifes and depictions of peasant labourers, in 1886 he moved to Paris, where he met members of the avant-garde, including Émile Bernard and Paul Gauguin, who were reacting against the Impressionist sensibility. As his work developed he created a new approach to still lifes and his paintings grew brighter in colour as he developed a style that became fully realised during his stay in Arles in the south of France in 1888. During this period he broadened his subject matter to include trees, cypresses, wheat fields. Van Gogh suffered from episodes and delusions and though he worried about his mental stability, he often neglected his physical health, did not eat properly. His friendship with Gauguin ended after a confrontation with a razor and he spent time in psychiatric hospitals, including a period at Saint-Rémy. After he discharged himself and moved to the Auberge Ravoux in Auvers-sur-Oise near Paris and his depression continued and on 27 July 1890, Van Gogh shot himself in the chest with a revolver. He died from his injuries two days later, Van Gogh was unsuccessful during his lifetime, and was considered a madman and a failure. He became famous after his suicide, and exists in the imagination as the quintessential misunderstood genius. His reputation began to grow in the early 20th century as elements of his style came to be incorporated by the Fauves. The most comprehensive source on Van Gogh is the correspondence between him and his younger brother, Theo. Their lifelong friendship, and most of what is known of Vincents thoughts, Theo van Gogh was an art dealer and provided his brother with financial and emotional support, and access to influential people on the contemporary art scene. Theo kept all of Vincents letters to him, Vincent kept few of the letters he received, after both had died, Theos widow Johanna arranged for the publication of some of their letters. A few appeared in 1906 and 1913, the majority were published in 1914, Vincents letters are eloquent and expressive and have been described as having a diary-like intimacy, and read in parts like autobiography
9.
Van Gogh Museum
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The Van Gogh Museum is an art museum dedicated to the works of Vincent van Gogh and his contemporaries in Amsterdam in the Netherlands. It is located at the Museum Square in the borough Amsterdam South, close to the Stedelijk Museum, the Rijksmuseum, the museum opened on 2 June 1973. It is located in buildings designed by Gerrit Rietveld and Kisho Kurokawa, the museums collection is the largest collection of Van Goghs paintings and drawings in the world. In 2015, the museum had 1.9 million visitors, and was the 2nd most visited museum in the Netherlands, upon Vincent van Goghs death in 1890, his work not sold fell into the possession of his brother Theo. Theo died six months after Vincent, leaving the work in the possession of his widow, selling many of Vincents paintings with the ambition of spreading knowledge of his artwork, Johanna maintained a private collection of his works. Design for a Van Gogh Museum was commissioned by the Dutch government in 1963 to Dutch architect, Rietveld died a year later, and the building was not completed until 1973, when the museum opened its doors. In 1998 and 1999, the building was renovated by the Dutch architect Martien van Goor, starting in late 2012, the museum was closed for renovations for six months. During this period,75 works from the collection were shown in the Hermitage Amsterdam, on 9 September 2013, the museum unveiled a long-lost Van Gogh painting that spent years in a Norwegian attic believed to be by another painter. It is the first full-size canvas by him discovered since 1928, sunset at Montmajour depicts trees, bushes and sky, painted with Van Goghs familiar thick brush strokes. It can be dated to the day it was painted because he described it in a letter to his brother, Theo. In 1991, twenty paintings were stolen from the museum, among them Van Goghs early painting The Potato Eaters, although the thieves escaped from the building,35 minutes later all stolen paintings were recovered from an abandoned car. Three paintings – Wheatfield with Crows, Still Life with Bible, four men, including two museum guards, were convicted for the theft and given six or seven-year sentences. It is considered to be the largest art theft in the Netherlands since the Second World War, in 2002, two paintings were stolen from the museum, Congregation Leaving the Reformed Church in Nuenen and View of the Sea at Scheveningen. Two Dutchmen were convicted for the theft to four-and-a-half-year sentences, the museum offered a reward of €100,000 for information leading to the recovery of the paintings. The FBI Art Crime Team listed the robbery on their Top Ten Art Crimes list, in September 2016, both paintings were discovered by the Guardia di Finanza in Naples, Italy. The two artworks were found in a good state, according to the Van Gogh Museum. The museum is situated at the Museumplein in Amsterdam-Zuid, on the Paulus Potterstraat 7, the museum consists of two buildings, the Rietveld building, designed by Gerrit Rietveld, and the Kurokawa wing, designed by Kisho Kurokawa. The museum offices are housed on Stadhouderskade 55 in Amsterdam-Zuid, the Rietveld building is the main structure of the museum and exhibits the permanent collection
10.
Art collector
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A private collection is a privately owned collection of works, usually a collection of art. This source will usually be an art collector, although it could be a school, church organization, bank or other company, collectors of books, even if they collect for aesthetic reasons, are called bibliophiles, and their collections are referred to as libraries. The Royal collections of most countries were originally the grandest of private collections but are now mostly in public ownership, however the British Royal Collection remains under the care of the Crown, though distinguished from the private property of the British Royal Family. The cabinet of curiosities was an important mixed form of collection, including art and these were formed by royalty but smaller ones also by merchants and scholars. The tastes and habits of collectors have played an important part in determining what art was produced. Many types of objects, such as medals, engravings, small plaquettes, modern engraved gems, increasingly collectors tended to specialize in one or two types of work, although some, like George Salting, still had a very wide scope for their collections. The extension of serious collecting to art from all periods and places was an essentially 19th-century development, trecento paintings were little appreciated until about the 1830s, and Chinese ritual bronzes and jades until perhaps the 1920s. Collecting of African art was rare until after World War II, very famous collections that are now dispersed include the Borghese Collection and Farnese collection in Rome, and the Orleans Collection in Paris, mostly sold in London. When this happens, it can be a loss to those interested in art as the initial vision of the collector is lost. The works were displayed in the Liechtenstein Museum after nearly 60 years with most in storage. The important collection of the Thyssen family, mostly kept in the Thyssen-Bornemisza Museum, only an exhibited part, the collection of Carmen Cervera, widow of the late Baron Thyssen, remains private but exhibited separately in the museum. Many collections were left to the public in some form, and are now museums, most museums are formed around one or more formerly private collection acquired as a whole. Other collections remain complete but are merged into larger collections in museums, many other bequests or purchased collections are split up within the museums collection. Sergei Shchukin, was an important Russian art collector, mainly of French Impressionist and Post-Impressionist art and his collection is now divided between the Pushkin Museum of Fine Arts in Moscow and the State Hermitage Museum in St. Petersburg. The Charles Lang Freer Collection became an important part of The Smithsonian—the Freer Gallery of Art, when the banker Robert Lehman died in 1969, his foundation donated 2,600 works of art to the Metropolitan Museum of Art in New York. Housed in the Robert Lehman Wing, the museum refers to the collection as one of the most extraordinary private art collections ever assembled in the United States. Unlike other departments at the Met, the Robert Lehman collection does not concentrate on a style or period of art, rather. Media related to Private collections at Wikimedia Commons
11.
Henry van de Velde
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Henry Clemens van de Velde was a Belgian painter, architect and interior designer. Together with Victor Horta and Paul Hankar he could be considered as one of the main founders, Van de Velde spent the most important part of his career in Germany and had a decisive influence on German architecture and design at the beginning of the 20th century. Van de Velde was born in Antwerp, where he studied painting under Charles Verlat at the famous Royal Academy of Fine Arts and he then went on to study at Carolus-Duran in Paris. As a young painter he was influenced by Paul Signac and Georges Seurat. In 1889 he became a member of the Brussels-based artist group Les XX, after Vincent van Gogh exhibited some work on the yearly exhibition of Les XX van de Velde became one of the first artists to be influenced by the Dutch painter. During this period he developed a friendship with the painter Théo van Rysselberghe. In 1892 he abandoned painting, devoting his time to arts of decoration and his own house, Bloemenwerf in Ukkel, was his first attempt at architecture, and was inspired by the British and American Arts and Crafts Movement. He also designed interiors and furniture for the art gallery LArt Nouveau of Samuel Bing in Paris in 1895. This gave the movement its first designation as Art Nouveau, bing’s pavilion at the 1900 Paris world fair also exhibited work by Van de Velde. Van de Velde set his face against copying historical styles, resolutely opting for original design, banning banality, Van de Veldes design work received good exposure in Germany, through periodicals like Innen-Dekoration, and subsequently he received commissions for interior designs in Berlin. Around the turn of the century, he designed Villa Leuring in the Netherlands and he also designed the interior of the Folkwang Museum in Hagen and the Nietzsche House in Weimar. In 1899 he settled in Weimar, Germany, where in 1905 he established the Grand-Ducal School of Arts and Crafts and he would oppose Hermann Muthesius at the Werkbund meeting of 1914 and their debate would mark the history of Modern Architecture. Van de Velde called for the upholding of the individuality of artists while Hermann Muthesius called for standardization as a key to development, during World War I, Van de Velde, as a foreign national, was obliged to leave Weimar, and returned to his native Belgium. Later, he lived in Switzerland and in the Netherlands where he designed the Kröller-Müller Museum in Otterlo, in 1925 he was appointed professor at the Ghent University Institute of Art History and Archaeology, where he lectured architecture and applied arts from 1926 to 1936. He was instrumental in founding in Brussels, in 1926, todays renowned architecture and visual arts school La Cambre and he continued his practice in architecture and design, which had demarcated itself significantly from the Art Nouveau phase, whose popularity was by 1910 in decline. During this period, he mentored the great Belgian architect, Victor Bourgeois, in 1933 he was commissioned to design the new building for the university library. Construction started in 1936, but the work would not be completed until the end of the Second World War, for budget reasons, the eventual construction did not entirely match the original design. For instance, the reading room floor was executed in marble instead of the black rubber Van de Velde originally intended and he was also involved in the construction of the Ghent University Hospital
12.
Jean Dubuffet
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Jean Philippe Arthur Dubuffet was a French painter and sculptor. He is perhaps best known for founding the art movement Art Brut, Dubuffet enjoyed a prolific art career, both in France and in America, and was featured in many exhibitions throughout his lifetime. Dubuffet was born in Le Havre to a family of wine merchants who were part of the wealthy bourgeoisie. He moved to Paris in 1918 to study painting at the Académie Julian, becoming friends with the artists Juan Gris, André Masson. Six months later, upon finding academic training to be distasteful, during this time, Dubuffet developed many other interests, including music, poetry, and the study of ancient and modern languages. Dubuffet also traveled to Italy and Brazil, and upon returning to Le Havre in 1925, he married for the first time and he took up painting again in 1934 when he made a large series of portraits in which he emphasized the vogues in art history. But again he stopped, developing his business at Bercy during the German Occupation of France. Years later, in a text, he boasted about having made substantial profits by supplying wine to the Wehrmacht. In 1942, Dubuffet decided to devote himself again to art and he often chose subjects for his works from everyday life, such as people sitting in the Paris Métro or walking in the country. Dubuffet painted with strong, unbroken colors, recalling the palette of Fauvism, as well as the Brucke painters, with their juxtaposing, many of his works featured an individual or individuals placed in a very cramped space, which had a distinct psychological impact on viewers. His first solo show came in October 1944, at the Galerie Rene Drouin in Paris and this marked Dubuffets third attempt to become an established artist. In 1945, Dubuffet attended and was impressed by a show in Paris of Jean Fautriers paintings in which he recognized meaningful art which expressed directly and purely the depth of a person. Emulating Fautrier, Dubuffet started to use oil paint mixed with materials such as mud, sand, coal dust, pebbles, pieces of glass, string, straw, plaster, gravel, cement. His use of materials and the irony that he infused into many of his works incited a significant amount of backlash from critics. Greenberg went on to say that Dubuffet is perhaps the one new painter of importance to have appeared on the scene in Paris in the last decade. Indeed, Dubuffet was very prolific in the United States in the following his first exhibition in New York. After 1946, Dubuffet started a series of portraits, with his own friends Henri Michaux, Francis Ponge, Jean Paulhan and he painted these portraits in the same thick materials, and in a manner deliberately anti-psychological and anti-personal, as Dubuffet expressed himself. A few years later he approached the surrealist group in 1948, in 1944 he started an important relationship with the resistance-fighter and French writer, publisher, Jean Paulhan who was also strongly fighting against intellectual terrorism, as he called it
13.
Cafe Terrace at Night
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Café Terrace at Night, also known as The Cafe Terrace on the Place du Forum, is an oil painting executed by the Dutch artist Vincent van Gogh while at Arles, France, in mid-September 1888. The painting is not signed, but described and mentioned by the artist in three letters, visitors to the site can still stand at the northeastern corner of the Place du Forum, where the artist set up his easel. Towards the right, Van Gogh indicated a lighted shop as well, the painting is currently at the Kröller-Müller Museum in Otterlo, Netherlands. On the terrace, there are figures of people drinking. A huge yellow lantern lights the terrace, the façade, the pavement, and even projects light over the cobblestones of the street, which takes on a violet-pink tinge. The gables of the houses on a street that leads away under the blue sky studded with stars are blue or violet. Now there’s a painting of night without black, with nothing but beautiful blue, violet and green, and in these surroundings the lighted square is coloured pale sulphur, lemon green. I enormously enjoy painting on the spot at night, in the past they used to draw, and paint the picture from the drawing in the daytime. But I find that it suits me to paint the thing straightaway, it’s quite true that I may take a blue for a green in the dark, a blue lilac for a pink lilac, since you can’t make out the nature of the tone clearly. But it’s the only way of getting away from the black night with a poor, pallid and whitish light, while in fact a mere candle by itself gives us the richest yellows. He continues, in this letter, You never told me if you had read Guy de Maupassant’s Bel-ami. An academic paper presented at IAFORs 2013 European Conference on Arts & Humanities, however, so I go outside at night to paint the stars and I always dream a painting like that with a group of living figures of the pals. When exhibited for the first time, in 1891, the painting was entitled Coffeehouse, in the evening. This is the first painting in which he used starry backgrounds, he went on to paint star-filled skies in Starry Night Over the Rhone, Van Gogh also painted a starlight background in Portrait of Eugène Boch. Van Gogh mentioned the Cafe Terrace painting in a letter written to Eugène Boch on October 2,1888, writing he had painted a view of the café on place du Forum, a café in Croatia was redesigned to look like the café in the painting. The Vincent van Gogh Gallery entry about Cafe Terrace at Night, discover van Gogh explores the Last Supper theory further. Van Gogh, paintings and drawings, a loan exhibition, a fully digitized exhibition catalog from The Metropolitan Museum of Art Libraries
14.
At Eternity's Gate
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Sorrowing Old Man is an oil painting by Vincent van Gogh that he made in 1890 in Saint-Rémy de Provence based on an early lithograph. The painting was completed in early May at a time when he was convalescing from a relapse in his health. In the 1970 catalogue raisonné, it is given the title Worn Out, Van Gogh wrote of his drawing, Today and yesterday I drew two figures of an old man with his elbows on his knees and his head in his hands. I did it of Schuitemaker once and always kept the drawing, perhaps I’ll also do a lithograph of it. What a fine sight an old working man makes, in his patched bombazine suit with his bald head, Van Goghs first attempt at the lithograph followed just two days later. He wrote, It seems to me that a painter has a duty to try to put an idea into his work, at the same time something precious, something noble, that can’t be meant for the worms. This is far from all theology — simply the fact that the poorest woodcutter, heath farmer or miner can have moments of emotion, executed at The Hague in 1882, it depicts an old man seated by a fire, his head buried in his hands. Near the end of his life van Gogh recreated this image in oil, bent over with his fists clenched against a face hidden in utter frustration, the subjects appears engulfed in grief. Certainly, the work would convey an image of total despair had it not been for the English title van Gogh gave it, At Eternitys Gate. It demonstrates that even in his deepest moments of sorrow and pain, van Gogh clung to a faith in God and eternity, seven impressions of the lithograph are known, of which one is annotated At Eternitys Gate. The same theme is taken up again in two later 1883 studies of a seated woman, Vincent van Gogh suffered from some form of mental illness, acutely during the last two years of his life. Dr. Félix Rey, an intern at the hospital. There is no agreement today over a diagnosis of van Goghs illness. Suggestions include epilepsy and bipolar disorder, possibly exacerbated by excessive drinking, heavy smoking. On February 22,1890, van Gogh suffered his most severe relapse, an episode Jan Hulsker called the longest and saddest of his life, and one which lasted some nine weeks through to late April. During this time, he was able to write his brother Theo once, in March 1890. While I was ill I nevertheless still did a few canvases from memory which you’ll see later. It is in these drawings and paintings that Hulsker sees unmistakable signs of his collapse, otherwise rare in his work
15.
The Potato Eaters
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The Potato Eaters is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands. It is in the Van Gogh Museum in Amsterdam and he worked on the painting from April 13 until the beginning of May, when it was mostly done except for minor changes which he made with a small brush later the same year. Van Gogh said he wanted to depict peasants as they really were, I wanted it to give the idea of a wholly different way of life from ours — civilized people. So I certainly don’t want everyone just to admire it or approve of it without knowing why, however, the work was criticized by his friend Anthon van Rappard soon after it was painted. Van Gogh made a lithograph of the composition The Potato Eaters before embarking on the painting proper and he sent impressions to his brother, and in a letter to a friend, wrote that he made the lithograph from memory in the space of a day. Van Gogh had first experimented with lithography in The Hague in 1882, though he appreciated small scale graphic work and was an enthusiastic collector of English engravings he worked relatively little in graphic mediums. No, in most cases the solidity and pith of the small is only obtained through much more study than is imagined by those who think lightly of the task of illustrating. Anyway, some paintings in their huge frames look very substantial, and from what you said about ‘Impressionism’, I’ve grasped that it’s something different from what I thought it was, but it’s still not entirely clear to me what one should understand by it. But for my part, I find so much in Israëls, for instance. Compositionally the two are similar, in both paintings the composition of the painting is centered by a figure whose back is turned to us. Thieves stole the early version of The Potato Eaters, the Weavers Interior, in April,1989, the thieves returned Weavers Interior in an attempt to gain a $2.5 million ransom. The police recovered the two on July 14,1989, no ransom was paid. On April 14,1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the version of The Potato Eaters. For unknown reasons, the abandoned the art 35 minutes after the robbery. ISBN 1-86046-859-4 De La Faille, Jacob Baart, the works of Vincent van Gogh. The Complete Van Gogh, Paintings, Drawings, Sketches, new York, NY, Harrison House/Harry N. Abrams Distributed by Crown Publishers, Random House. Naifeh, Steven and Smith, Gregory White
16.
Amsterdam
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Amsterdam is the capital and most populous municipality of the Kingdom of the Netherlands. Its status as the capital is mandated by the Constitution of the Netherlands, although it is not the seat of the government, which is The Hague. Amsterdam has a population of 851,373 within the city proper,1,351,587 in the urban area, the city is located in the province of North Holland in the west of the country. The metropolitan area comprises much of the part of the Randstad, one of the larger conurbations in Europe. Amsterdams name derives from Amstelredamme, indicative of the citys origin around a dam in the river Amstel, during that time, the city was the leading centre for finance and diamonds. In the 19th and 20th centuries the city expanded, and many new neighborhoods and suburbs were planned, the 17th-century canals of Amsterdam and the 19–20th century Defence Line of Amsterdam are on the UNESCO World Heritage List. As the commercial capital of the Netherlands and one of the top financial centres in Europe, Amsterdam is considered a world city by the Globalization. The city is also the capital of the Netherlands. Many large Dutch institutions have their headquarters there, and seven of the worlds 500 largest companies, including Philips and ING, are based in the city. In 2012, Amsterdam was ranked the second best city to live in by the Economist Intelligence Unit and 12th globally on quality of living for environment, the city was ranked 3rd in innovation by Australian innovation agency 2thinknow in their Innovation Cities Index 2009. The Amsterdam seaport to this day remains the second in the country, famous Amsterdam residents include the diarist Anne Frank, artists Rembrandt van Rijn and Vincent van Gogh, and philosopher Baruch Spinoza. The Amsterdam Stock Exchange, the oldest stock exchange in the world, is located in the city center. After the floods of 1170 and 1173, locals near the river Amstel built a bridge over the river, the earliest recorded use of that name is in a document dated October 27,1275, which exempted inhabitants of the village from paying bridge tolls to Count Floris V. This allowed the inhabitants of the village of Aemstelredamme to travel freely through the County of Holland, paying no tolls at bridges, locks, the certificate describes the inhabitants as homines manentes apud Amestelledamme. By 1327, the name had developed into Aemsterdam, Amsterdam is much younger than Dutch cities such as Nijmegen, Rotterdam, and Utrecht. In October 2008, historical geographer Chris de Bont suggested that the land around Amsterdam was being reclaimed as early as the late 10th century. This does not necessarily mean there was already a settlement then, since reclamation of land may not have been for farming—it may have been for peat. Amsterdam was granted city rights in either 1300 or 1306, from the 14th century on, Amsterdam flourished, largely from trade with the Hanseatic League
17.
Piet Mondrian
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Pieter Cornelis Piet Mondriaan, after 1906 Mondrian, was a Dutch painter. Mondrian was a contributor to the De Stijl art movement and group and he evolved a non-representational form which he termed neoplasticism. This consisted of ground, upon which he painted a grid of vertical and horizontal black lines. Mondrians arrival in Paris from the Netherlands in 1911 marked the beginning of a period of profound change and he encountered experiments in Cubism and with the intent of integrating himself within the Parisian avant-garde removed an a from the Dutch spelling of his name. Mondrian was born in Amersfoort in the Netherlands, the second of his parents children and he was descended from Christian Dirkzoon Monderyan who lived in The Hague as early as 1670. The family moved to Winterswijk in the east of the country when his father, Pieter Cornelius Mondriaan, was appointed Head Teacher at a primary school. Mondrian was introduced to art from a early age. His father was a drawing teacher, and, with his uncle, Fritz Mondriaan. After a strictly Protestant upbringing, in 1892, Mondrian entered the Academy for Fine Art in Amsterdam and he already was qualified as a teacher. He began his career as a teacher in primary education, most of his work from this period is naturalistic or Impressionistic, consisting largely of landscapes. These paintings are most definitely representational, and they illustrate the influence that various artistic movements had on Mondrian, including pointillism, on display in the Gemeentemuseum Den Haag are a number of paintings from this period, including such Post-Impressionist works as The Red Mill and Trees in Moonrise. Another painting, Evening, depicting a tree in a field at dusk, even augurs future developments by using a palette consisting almost entirely of red, yellow, although Avond is only limitedly abstract, it is the earliest Mondrian painting to emphasize primary colors. Mondrians earliest paintings showing a degree of abstraction are a series of canvases from 1905 to 1908 that depict dim scenes of trees and houses reflected in still water. Mondrians art was related to his spiritual and philosophical studies. In 1908, he interested in the theosophical movement launched by Helena Petrovna Blavatsky in the late 19th century. The work of Blavatsky and a spiritual movement, Rudolf Steiners Anthroposophy. In 1918, he wrote I got everything from the Secret Doctrine, in 1921, in a letter to Steiner, Mondrian argued that his neoplasticism was the art of the foreseeable future for all true Anthroposophists and Theosophists. He remained a committed Theosophist in subsequent years, although he believed that his own artistic current, neoplasticism, would eventually become part of a larger
18.
Georges-Pierre Seurat
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Georges-Pierre Seurat was a French post-Impressionist painter and draftsman. He is noted for his use of drawing media and for devising the painting techniques known as chromoluminarism and pointillism. His large-scale work, A Sunday Afternoon on the Island of La Grande Jatte, altered the direction of art by initiating Neo-impressionism. Seurat was born 2 December 1859 in Paris, at 60 rue de Bondy, the Seurat family moved to 136 boulevard de Magenta in 1862 or 1863. His father, Antoine Chrysostome Seurat, originally from Champagne, was a legal official who had become wealthy from speculating in property. Georges had a brother, Émile Augustin, and a sister, Marie-Berthe and his father lived in Le Raincy and visited his wife and children once a week at boulevard de Magenta. Georges Seurat first studied art at the École Municipale de Sculpture et Dessin, near his familys home in the boulevard Magenta, Seurats studies resulted in a well-considered and fertile theory of contrasts, a theory to which all his work was thereafter subjected. His formal artistic education came to an end in November 1879, after a year at the Brest Military Academy, he returned to Paris where he shared a studio with his friend Aman-Jean, while also renting a small apartment at 16 rue de Chabrol. For the next two years, he worked at mastering the art of monochrome drawing and his first exhibited work, shown at the Salon, of 1883, was a Conté crayon drawing of Aman-Jean. He also studied the works of Eugène Delacroix carefully, making notes on his use of color and he spent 1883 working on his first major painting—a large canvas titled Bathers at Asnières, a monumental work showing young men relaxing by the Seine in a working-class suburb of Paris. Seurat also departed from the Impressionist ideal by preparing for the work with a number of drawings, Bathers at Asnières was rejected by the Paris Salon, and instead he showed it at the Groupe des Artistes Indépendants in May 1884. Seurats new ideas on pointillism were to have a strong influence on Signac. In the summer of 1884, Seurat began work on A Sunday Afternoon on the Island of La Grande Jatte, the painting shows members of each of the social classes participating in various park activities. The tiny juxtaposed dots of multi-colored paint allow the eye to blend colors optically. It took Seurat two years to complete this 10-foot-wide painting, much of which he spent in the park sketching in preparation for the work and it is now in the permanent collection of the Art Institute of Chicago. The painting was the inspiration for James Lapine and Stephen Sondheims musical, Seurat concealed his relationship with Madeleine Knobloch, an artists model whom he portrayed in his painting Jeune femme se poudrant. In 1889 she moved in with Seurat in his studio on the 7th floor of 128bis Boulevard de Clichy, when Madeleine became pregnant, the couple moved to a studio at 39 passage de lÉlysée-des-Beaux-Arts. There she gave birth to their son, who was named Pierre-Georges,16 February 1890, Seurat died in Paris in his parents home on 29 March 1891 at the age of 31
19.
Odilon Redon
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Odilon Redon was a French symbolist painter, printmaker, draughtsman and pastellist. Odilon Redon was born in Bordeaux, Aquitaine, to a prosperous family, the young Bertrand-Jean Redon acquired the nickname Odilon from his mother, Odile. Redon started drawing as a child, and, at the age of ten and he began the formal study of drawing at fifteen, but, at his fathers insistence, he changed to architecture. Failure to pass the exams at Paris’ École des Beaux-Arts ended any plans for a career as an architect. Back in his native Bordeaux, he took up sculpting, and Rodolphe Bresdin instructed him in etching and his artistic career was interrupted in 1870 when he was drafted to serve in the army in the Franco-Prussian War until its end in 1871. At the end of the war, he moved to Paris and resumed working almost exclusively in charcoal and he called his visionary works, conceived in shades of black, his noirs. It was not until 1878 that his work gained any recognition with Guardian Spirit of the Waters, he published his first album of lithographs, titled Dans le Rêve, in 1879. Still, Redon remained relatively unknown until the appearance in 1884 of a novel by Joris-Karl Huysmans titled À rebours. The story featured a decadent aristocrat who collected Redons drawings, in the 1890s pastel and oils became his favored media, he produced no more noirs after 1900. In 1899, he exhibited with the Nabis at Durand-Ruels, Redon had a keen interest in Hindu and Buddhist religion and culture. The figure of the Buddha increasingly showed in his work, baron Robert de Domecy commissioned the artist in 1899 to create 17 decorative panels for the dining room of the Château de Domecy-sur-le-Vault near Sermizelles in Burgundy. The landscape details do not show a place or space. Only details of trees, twigs with leaves, and budding flowers in an endless horizon can be seen, the colours used are mostly yellow, grey, brown and light blue. The influence of the Japanese painting style found on folding screens byōbu is discernible in his choice of colours, fifteen of them are located today in the Musée dOrsay, acquisitioned in 1988. Domecy also commissioned Redon to paint portraits of his wife and their daughter Jeanne, most of the paintings remained in the Domecy family collection until the 1960s. In 1903 Redon was awarded the Legion of Honor, Redon died on July 6,1916. In 1923 Mellerio published Odilon Redon, Peintre Dessinateur et Graveur, an archive of Mellerios papers is held by the Ryerson & Burnham Libraries at the Art Institute of Chicago. The exhibition ran from October 30,2005 to January 23,2006, the Fondation Beyeler in Basel, Switzerland showed a retrospective from February to May 2014
20.
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
21.
Paul Gauguin
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Eugène Henri Paul Gauguin was a French post-Impressionist artist. Underappreciated until after his death, Gauguin is now recognized for his use of color. His work was influential to the French avant-garde and many artists, such as Pablo Picasso. Many of his paintings were in the possession of Russian collector Sergei Shchukin and he was an important figure in the Symbolist movement as a painter, sculptor, printmaker, ceramist, and writer. He was also a proponent of wood engraving and woodcuts as art forms. Gauguin was born in Paris, France to Clovis Gauguin and Alina Maria Chazal on June 7,1848 and his birth coincided with revolutionary upheavals throughout Europe that year. His father, a 34-year-old liberal journalist, came from a family of petit-bourgeoisie entrepreneurs residing in Orléans and he was compelled to flee France when the newspaper for which he wrote was suppressed by French authorities. Gauguins mother, the 22-year-old Aline Marie Chazal, was the daughter of Andre Chazal, an engraver, and Flora Tristan and their union ended when Andre assaulted his wife Flora and was sentenced to prison for attempted murder. Paul Gauguins maternal grandmother, Flora Tristan, was the daughter of Thérèse Laisnay. Details of Thérèses family background are not known, her father, Don Mariano, was a Spanish nobleman, members of the wealthy Tristan Moscoso family held powerful positions in Peru. Nonetheless, Don Marianos unexpected death plunged his mistress and daughter Flora into poverty, when Floras marriage with Andre failed, she petitioned for and obtained a small monetary settlement from her fathers Peruvian relatives. She sailed to Peru in hopes of enlarging her share of the Tristan Moscoso family fortune and this never materialized, but she successfully published a popular travelogue of her experiences in Peru which launched her literary career in 1838. An active supporter of early socialist societies, Gauguins maternal grandmother helped to lay the foundations for the 1848 revolutionary movements, placed under surveillance by French police and suffering from overwork, she died in 1844. Her grandson Paul idolized his grandmother, and kept copies of her books with him to the end of his life. In 1850, Clovis Gauguin departed for Peru with his wife Alina and he died of a heart attack en route, and Alina arrived in Peru a widow with the 18-month-old Paul and his 2 ½ year-old sister, Marie. Gauguins mother was welcomed by her granduncle, whose son-in-law would shortly assume the presidency of Peru. To the age of six, Paul enjoyed an upbringing, attended by nursemaids. He retained a vivid memory of period of his childhood which instilled indelible impressions of Peru that haunted him the rest of his life
22.
Lucas Cranach the Elder
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Lucas Cranach the Elder was a German Renaissance painter and printmaker in woodcut and engraving. He also painted religious subjects, first in the Catholic tradition and he continued throughout his career to paint nude subjects drawn from mythology and religion. He had a workshop and many works exist in different versions, his son Lucas Cranach the Younger. Lucas Cranach the Elder has been considered the most successful German artist of his time and he was born at Kronach in upper Franconia, probably in 1472. His exact date of birth is unknown and he learned the art of drawing from his father Hans Maler. His mother, with surname Hübner, died in 1491, later, the name of his birthplace was used for his surname, another custom of the times. How Cranach was trained is not known, but it was probably with local south German masters, as with his contemporary Matthias Grünewald, there are also suggestions that Cranach spent some time in Vienna around 1500. According to Gunderam Cranach demonstrated his talents as a painter before the close of the 15th century and his work then drew the attention of Duke Friedrich III, Elector of Saxony, known as Frederick the Wise, who attached Cranach to his court in 1504. Cranach was to remain in the service of the Elector and his successors for the rest of his life, Cranach married Barbara Brengbier, the daughter of a burgher of Gotha and also born there, she died at Wittenberg on 26 December 1540. Cranach later owned a house at Gotha, but most likely he got to know Barbara near Wittenberg, where her family owned a house. The first evidence of Cranachs skill as an artist comes in a picture dated 1504, in 1509 Cranach went to the Netherlands, and painted the Emperor Maximilian and the boy who afterwards became Emperor Charles V. Until 1508 Cranach signed his works with his initials, in that year the elector gave him the winged snake as an emblem, or Kleinod, which superseded the initials on his pictures after that date. Cranach was the painter to the electors of Saxony in Wittenberg. His patrons were powerful supporters of Martin Luther, and Cranach used his art as a symbol of the new faith, Cranach made numerous portraits of Luther, and provided woodcut illustrations for Luthers German translation of the Bible. Somewhat later the duke conferred on him the monopoly of the sale of medicines at Wittenberg, Cranachs presses were used by Martin Luther. His apothecary shop was open for centuries, and was only lost by fire in 1871, Cranach, like his patron, was friendly with the Protestant Reformers at a very early stage, yet it is difficult to fix the time of his first meeting with Martin Luther. The oldest reference to Cranach in Luthers correspondence dates from 1520, in a letter written from Worms in 1521, Luther calls him his gossip, warmly alluding to his Gevatterin, the artists wife. He was also godfather to their first child, Johannes Hans Luther, in 1530 Luther lived at the citadel of Veste Coburg under the protection of the Duke of Saxe-Coburg and his room is preserved there along with a painting of him
23.
James Ensor
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James Sidney Edouard, Baron Ensor was a Belgian painter and printmaker, an important influence on expressionism and surrealism who lived in Ostend for almost his entire life. He was associated with the artistic group Les XX, Ensors father, James Frederic Ensor, born in Brussels of English parents, was a cultivated man who studied engineering in England and Germany. Ensors mother, Maria Catherina Haegheman, was Belgian, Ensor himself lacked interest in academic study and left school at the age of fifteen to begin his artistic training with two local painters. From 1877 to 1880, he attended the Académie Royale des Beaux-Arts in Brussels, Ensor first exhibited his work in 1881. From 1880 until 1917, he had his studio in the attic of his parents house and his travels were very few, three brief trips to France and two to the Netherlands in the 1880s, and a four-day trip to London in 1892. In 1895 his painting The Lamp Boy was acquired by the Royal Museums of Fine Arts of Belgium in Brussels, against the advice of friends, he remained in Ostend during World War II despite the risk of bombardment. In his old age he was a figure among Belgians. He died there after an illness, on 19 November 1949. While Ensors early works, such as Russian Music and The Drunkards, depict scenes in a somber style, his palette subsequently brightened. Such paintings as The Scandalized Masks and Skeletons Fighting over a Hanged Man feature figures in grotesque masks inspired by the ones sold in his mothers gift shop for Ostends annual Carnival. Subjects such as carnivals, masks, puppetry, skeletons, Ensor dressed skeletons up in his studio and arranged them in colorful, enigmatic tableaux on the canvas, and used masks as a theatrical aspect in his still lifes. Attracted by masks plastic forms, bright colors, and potential for psychological impact, the four years between 1888 and 1892 mark a turning point in Ensors work. Ensor turned to themes, often the torments of Christ. Ensor interpreted religious themes as a personal disgust for the inhumanity of the world, in 1888 alone, he produced forty-five etchings as well as his most ambitious painting, the immense Christs Entry Into Brussels in 1889. Also known as Entry of Christ into Brussels, it is considered a forerunner of twentieth-century Expressionism, in this composition, which elaborates a theme treated by Ensor in his drawing Les Aureoles du Christ of 1885, a vast carnival mob in grotesque masks advances toward the viewer. Identifiable within the crowd are Belgian politicians, historical figures, nearly lost amid the teeming throng is Christ on his donkey, although Ensor was an atheist, he identified with Christ as a victim of mockery. The piece, which measures 99½ by 169½ inches, was rejected by Les XX and was not publicly displayed until 1929, after its controversial export in the 1960s, the painting is now at the J. Paul Getty Museum in Los Angeles. As Ensor achieved belated recognition in the years of the 19th century, his style softened
24.
Juan Gris
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José Victoriano González-Pérez, better known as Juan Gris, was a Spanish painter and sculptor born in Madrid who lived and worked in France most of his life. Closely connected to the artistic genre Cubism, his works are among the movements most distinctive. He later studied engineering at Madrids School of Arts and Sciences, there, from 1902 to 1904, he contributed drawings to local periodicals. From 1904 to 1905, he studied painting with the academic artist José Moreno Carbonero and it was in 1905 that José Victoriano González adopted the more distinctive name Juan Gris. In 1906 he moved to Paris and became friends with Henri Matisse, Georges Braque, in Paris, Gris followed the lead of another friend and fellow countryman, Pablo Picasso. He submitted darkly humorous illustrations to journals such as the anarchist satirical magazine LAssiette au Beurre, and also Le Rire, Le Charivari, Gris began to paint seriously in 1910, developing at this time a personal Cubist style. In A Life of Picasso, John Richardson writes that Jean Metzingers 1911 work, Le goûter, Gris exhibited for the first time at the 1912 Salon des Indépendants. He appears with two styles, writes art historian Peter Brooke, In one of them a grid structure appears that is reminiscent of the Goûter. In the other, Brooke continues, the grid is still present but the lines are not stated and their presence is suggested by the heavy, often triangular, shading of the angles between them. Both styles are distinguished from the work of Picasso and Braque by their clear, rational, although Gris regarded Picasso as a teacher, Gertrude Stein wrote in The Autobiography of Alice B. Toklas that Juan Gris was the person whom Picasso wished away. Gris, in same year, signed a contract that gave D. -H. Kahnweiler exclusive rights to his work, unlike Picasso and Braque, whose Cubist works were practically monochromatic, Gris painted with bright harmonious colors in daring, novel combinations in the manner of his friend Matisse. Gris exhibited with the painters of the Puteaux Group in the Salon de la Section dOr in 1912 and his preference for clarity and order influenced the Purist style of Amédée Ozenfant and Charles Edouard Jeanneret, and made Gris an important exemplar of the post-war return to order movement. In 1915 he was painted by his friend, Amedeo Modigliani, in November 1917 he made one of his few sculptures, the polychrome plaster Harlequin. Griss works from late 1916 through 1917 exhibit a greater simplification of geometric structure, the oblique overlapping planar constructions, tending away from equilibrium, can best be seen in Woman with Mandolin, after Corot and in its epilogue, Portrait of Josette Gris. Though Gris certainly had planned the representation of his subject matter. The geometric structure of Juan Griss Crystal period is already palpable in Still Life before an Open Window, the overlapping elemental planar structure of the composition serves as a foundation to flatten the individual elements onto a unifying surface, foretelling the shape of things to come
25.
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
26.
Europe
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Europe is a continent that comprises the westernmost part of Eurasia. Europe is bordered by the Arctic Ocean to the north, the Atlantic Ocean to the west, yet the non-oceanic borders of Europe—a concept dating back to classical antiquity—are arbitrary. Europe covers about 10,180,000 square kilometres, or 2% of the Earths surface, politically, Europe is divided into about fifty sovereign states of which the Russian Federation is the largest and most populous, spanning 39% of the continent and comprising 15% of its population. Europe had a population of about 740 million as of 2015. Further from the sea, seasonal differences are more noticeable than close to the coast, Europe, in particular ancient Greece, was the birthplace of Western civilization. The fall of the Western Roman Empire, during the period, marked the end of ancient history. Renaissance humanism, exploration, art, and science led to the modern era, from the Age of Discovery onwards, Europe played a predominant role in global affairs. Between the 16th and 20th centuries, European powers controlled at times the Americas, most of Africa, Oceania. The Industrial Revolution, which began in Great Britain at the end of the 18th century, gave rise to economic, cultural, and social change in Western Europe. During the Cold War, Europe was divided along the Iron Curtain between NATO in the west and the Warsaw Pact in the east, until the revolutions of 1989 and fall of the Berlin Wall. In 1955, the Council of Europe was formed following a speech by Sir Winston Churchill and it includes all states except for Belarus, Kazakhstan and Vatican City. Further European integration by some states led to the formation of the European Union, the EU originated in Western Europe but has been expanding eastward since the fall of the Soviet Union in 1991. The European Anthem is Ode to Joy and states celebrate peace, in classical Greek mythology, Europa is the name of either a Phoenician princess or of a queen of Crete. The name contains the elements εὐρύς, wide, broad and ὤψ eye, broad has been an epithet of Earth herself in the reconstructed Proto-Indo-European religion and the poetry devoted to it. For the second part also the divine attributes of grey-eyed Athena or ox-eyed Hera. The same naming motive according to cartographic convention appears in Greek Ανατολή, Martin Litchfield West stated that phonologically, the match between Europas name and any form of the Semitic word is very poor. Next to these there is also a Proto-Indo-European root *h1regʷos, meaning darkness. Most major world languages use words derived from Eurṓpē or Europa to refer to the continent, in some Turkic languages the originally Persian name Frangistan is used casually in referring to much of Europe, besides official names such as Avrupa or Evropa
27.
Modern art
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Modern art includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the style and philosophy of the art produced during that era. The term is associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation. Modern artists experimented with new ways of seeing and with ideas about the nature of materials. A tendency away from the narrative, which was characteristic for the traditional arts, more recent artistic production is often called contemporary art or postmodern art. Matisses two versions of The Dance signified a key point in his career and in the development of modern painting, analytic cubism was jointly developed by Picasso and Georges Braque, exemplified by Violin and Candlestick, Paris, from about 1908 through 1912. Synthetic cubism is characterized by the introduction of different textures, surfaces, collage elements, papier collé, the notion of modern art is closely related to modernism. Although modern sculpture and architecture are reckoned to have emerged at the end of the 19th century, the beginnings of modern painting can be located earlier. The date perhaps most commonly identified as marking the birth of art is 1863. Earlier dates have also proposed, among them 1855 and 1784. In the words of art historian H, harvard Arnason, Each of these dates has significance for the development of modern art, but none categorically marks a completely new beginning. A gradual metamorphosis took place in the course of a hundred years, the strands of thought that eventually led to modern art can be traced back to the Enlightenment, and even to the 17th century. The important modern art critic Clement Greenberg, for instance, called Immanuel Kant the first real Modernist but also drew a distinction, The Enlightenment criticized from the outside. The French Revolution of 1789 uprooted assumptions and institutions that had for centuries been accepted with little question and this gave rise to what art historian Ernst Gombrich called a self-consciousness that made people select the style of their building as one selects the pattern of a wallpaper. The pioneers of art were Romantics, Realists and Impressionists. By the late 19th century, additional movements which were to be influential in art had begun to emerge. The advocates of realism stood against the idealism of the academic art that enjoyed public. The most successful painters of the day worked either through commissions or through public exhibitions of their own work. There were official, government-sponsored painters unions, while governments regularly held exhibitions of new fine
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Contemporary art
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Contemporary art is the art of today, produced by artists who are living in the twenty-first century. Contemporary art provides an opportunity to reflect on contemporary society and the relevant to ourselves. Contemporary artists work in a globally influenced, culturally diverse, and their art is a dynamic combination of materials, methods, concepts, and subjects that challenge traditional boundaries and defy easy definition. In vernacular English, modern and contemporary are synonyms, resulting in some conflation of the modern art. Some define contemporary art as art produced within our lifetime, recognizing that lifetimes, however, there is a recognition that this generic definition is subject to specialized limitations. The classification of art as a special type of art, rather than a general adjectival phrase. In London, the Contemporary Art Society was founded in 1910 by the critic Roger Fry and others, as a private society for buying works of art to place in public museums. A number of other institutions using the term were founded in the 1930s, such as in 1938 the Contemporary Art Society of Adelaide, Australia, particular points that have been seen as marking a change in art styles include the end of World War II and the 1960s. There has perhaps been a lack of natural break points since the 1960s, and definitions of what contemporary art in the 2010s vary. Art from the past 20 years is likely to be included, and definitions often include art going back to about 1970, the art of the late 20th and early 21st century. Many use the formulation Modern and Contemporary Art, which avoids this problem, smaller commercial galleries, magazines and other sources may use stricter definitions, perhaps restricting the contemporary to work from 2000 onwards. One of the many people have in approaching contemporary artwork is its diversity - diversity of material, form, subject matter. It is distinguished by the lack of a uniform organizing principle, ideology, or -ism that we so often see in other. Broadly speaking, we see Modernism as looking at modernist principals - the focus of the work is self-referential, likewise, Impressionism looks at our perception of a moment through light and color as opposed to attempts at stark realism. Contemporary art, on the hand, does not have one. Its view, instead, is refracted, prismatic, and multi-faceted, reflecting the diversity of the world today, in all of its complexities, contemporary art reflects life as we know it. It can be, therefore, contradictory, confusing, and open-ended, there are, however, a number of common themes that have appeared in contemporary works. Post-modern, post-structuralist, feminist, and Marxist theory have played important roles in the development of theories of art
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Auguste Rodin
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François Auguste René Rodin, known as Auguste Rodin, was a French sculptor. Although Rodin is generally considered the progenitor of modern sculpture, he did not set out to rebel against the past and he was schooled traditionally, took a craftsman-like approach to his work, and desired academic recognition, although he was never accepted into Pariss foremost school of art. Sculpturally, Rodin possessed an ability to model a complex, turbulent. Many of his most notable sculptures were roundly criticized during his lifetime and they clashed with predominant figurative sculpture traditions, in which works were decorative, formulaic, or highly thematic. Rodins most original work departed from traditional themes of mythology and allegory, modeled the human body with realism, Rodin was sensitive to the controversy surrounding his work, but refused to change his style. Successive works brought increasing favor from the government and the artistic community, by 1900, he was a world-renowned artist. Wealthy private clients sought Rodins work after his Worlds Fair exhibit and he married his lifelong companion, Rose Beuret, in the last year of both their lives. His sculptures suffered a decline in popularity after his death in 1917, Rodin remains one of the few sculptors widely known outside the visual arts community. Rodin was born in 1840 into a family in Paris, the second child of Marie Cheffer and Jean-Baptiste Rodin. He was largely self-educated, and began to draw at age ten, between ages 14 and 17, Rodin attended the Petite École, a school specializing in art and mathematics, where he studied drawing and painting. His drawing teacher, Horace Lecoq de Boisbaudran, believed in first developing the personality of his students so that they observed with their own eyes, Rodin still expressed appreciation for his teacher much later in life. It was at Petite École that he first met Jules Dalou, in 1857, Rodin submitted a clay model of a companion to the École des Beaux-Arts in an attempt to win entrance, he did not succeed, and two further applications were also denied. Given that entrance requirements at the Grande École were not particularly high, Rodins inability to gain entrance may have been due to the judges Neoclassical tastes, while Rodin had been schooled in light, 18th-century sculpture. Leaving the Petite École in 1857, Rodin earned a living as a craftsman, Rodins sister Maria, two years his senior, died of peritonitis in a convent in 1862. Rodin was anguished and felt guilty because he had introduced Maria to an unfaithful suitor, turning away from art, he briefly joined a Catholic order, the Congregation of the Blessed Sacrament. Saint Peter Julian Eymard, founder and head of the congregation, recognized Rodins talent and, sensing his lack of suitability for the order and he returned to work as a decorator, while taking classes with animal sculptor Antoine-Louis Barye. The teachers attention to detail – his finely rendered musculature of animals in motion – significantly influenced Rodin, in 1864, Rodin began to live with a young seamstress named Rose Beuret, with whom he would stay – with ranging commitment – for the rest of his life. The couple had a son, Auguste-Eugène Beuret and that year, Rodin offered his first sculpture for exhibition, and entered the studio of Albert-Ernest Carrier-Belleuse, a successful mass producer of objets dart
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Henry Moore
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Henry Spencer Moore OM CH FBA was an English artist. He is best known for his monumental bronze sculptures which are located around the world as public works of art. As well as sculpture, Moore produced many drawings, including a series depicting Londoners sheltering from the Blitz during the Second World War and his forms are usually abstractions of the human figure, typically depicting mother-and-child or reclining figures. Moores works are usually suggestive of the body, apart from a phase in the 1950s when he sculpted family groups. His forms are generally pierced or contain hollow spaces, many interpreters liken the undulating form of his reclining figures to the landscape and hills of his birthplace, Yorkshire. Moore was born in Castleford, the son of a coal miner and he became well-known through his carved marble and larger-scale abstract cast bronze sculptures, and was instrumental in introducing a particular form of modernism to the United Kingdom. His ability in later life to fulfill large-scale commissions made him exceptionally wealthy, despite this, he lived frugally, most of the money he earned went towards endowing the Henry Moore Foundation, which continues to support education and promotion of the arts. Henry Moore was born in Castleford, West Riding of Yorkshire, England, to Mary Baker and his father was of Irish origin and became pit deputy and then under-manager of the Wheldale colliery in Castleford. He was an autodidact with an interest in music and literature, determined that his sons would not work in the mines, he saw formal education as the route to their advancement. Henry was the seventh of eight children in a family often struggled with poverty. He attended infant and elementary schools in Castleford, where he began modelling in clay and he professed to have decided to become a sculptor when he was eleven after hearing of Michelangelos achievements at a Sunday School reading. On his second attempt he was accepted at Castleford Grammar School, which several of his siblings had attended, where his headmaster soon noticed his talent and interest in medieval sculpture. His art teacher broadened his knowledge of art and, with her encouragement, he determined to make art his career, despite his early promise, Moores parents had been against him training as a sculptor, a vocation they considered manual labour with few career prospects. After a brief introduction as a student teacher, Moore became a teacher at the school he had attended, upon turning eighteen, Moore volunteered for army service. He was the youngest man in the Prince of Wales Own Civil Service Rifles regiment and was injured in 1917 in a gas attack, on 30 November at Bourlon Wood, during the Battle of Cambrai. After recovering in hospital, he saw out the remainder of the war as a training instructor. He recalled later, for me the war passed in a haze of trying to be a hero. And I still have that feeling, after the Great War Moore received an ex-servicemans grant to continue his education and in 1919 he became a student at the Leeds School of Art, which set up a sculpture studio especially for him
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Mark di Suvero
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Marco Polo Mark di Suvero is an abstract expressionist sculptor and 2010 National Medal of Arts recipient. Marco Polo di Suvero was born on September 18,1933 in Shanghai, China, to Matilde Millo di Suvero, di Suvero was one of four children, the eldest being Victor di Suvero. His father was a naval attaché for the Italian government and the family resided in Shanghai until his father was relocated to Tientsin shortly after the birth of the familys last son in 1936. With the outbreak of World War II, di Suvero immigrated to San Francisco, di Suvero attended San Francisco City College from 1953 to 1954 followed by the University of California, Santa Barbara from 1954 to 1955. He began creating sculptures while at UC Santa Barbara after reflecting that he couldnt make a contribution in his philosophy major. Under the guidance of Robert Thomas, who allowed di Suvero to take his sculpting course and he transferred to the University of California, Berkeley and graduated with a B. A. in philosophy in 1957. After graduating from college, di Suvero moved to New York City in 1957 to pursue an art career. He worked part-time in construction and began to incorporate wood and metal from demolition sites into his work, shortly before his first solo exhibition at Green Gallery, di Suvero was involved in a near-fatal elevator accident on March 26,1960, while working at a construction site. He suffered a back and severe spinal injures, doctors believed he wouldnt be able to walk again. While in rehabilitation, he learned to work with an arc welder which became critical for later pieces and he made a recovery in four years and could walk without assistance by 1965. He is one of the sixteen artists included in the book Chronicles of Courage, Very Special Artists as a result of this accident and the subsequent effect it had upon his health. Di Suvero was a member of the Park Place Gallery in 1963 with Forrest Myers, Leo Valledor, Peter Forakis, among others. Di Suvero protested the Vietnam War, for which he was twice arrested and his French barge, Rêve de signes, has since been turned into La Vie des Formes, an atelier for emerging artists, which has been moored at Montceau-les-Mines since 2009. He later returned to the United States and opened a studio in Petaluma, while the Petaluma studio is still active, di Suvero moved to New York City and opened a studio there. He founded the Athena Foundation in 1977 and Socrates Sculpture Park in 1986 and his early works were large outdoor pieces that incorporated wooden timbers from demolition buildings, tires, scrap metal and structural steel. This exploration has transformed over time into a focus on H-beams, many of the pieces contain sections that are allowed to swing and rotate giving the overall forms a considerable degree of motion. He prides himself on his approach to the fabrication and installation of his work. Di Suvero pioneered the use of a crane as a working tool
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Lucio Fontana
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Lucio Fontana was an Italio-Argentine painter, sculptor and theorist of Argentine birth. He was mostly known as the founder of Spatialism and his ties to Arte Povera, born in Rosario, province of Santa Fe, Argentina to Italian immigrant parents, he was the son of the sculptor Luigi Fontana. Fontana spent the first years of his life in Italy and came back to Argentina in 1905, where he stayed until 1922, working as a sculptor along with his father, and then on his own. Already in 1926, he participated in the first exhibition of Nexus, in 1927 Fontana returned to Italy and studied under the sculptor Adolfo Wildt, at Accademia di Brera from 1928 to 1930. It was there where he presented his first exhibition in 1930, during the following decade he journeyed Italy and France, working with abstract and expressionist painters. In 1935 he joined the association Abstraction-Création in Paris and from 1936 to 1949 made expressionnist sculptures in ceramic, in 1939, he joined the Corrente, a Milan group of expressionist artists. In 1940 he returned to Argentina, upon his return from Argentina in 1947, he supported, along with writers and philosophers, the first manifesto of spatialism **. Fontana had found his studio and works completely destroyed in the Allied bombings of Milan, in Milan, he collaborated with noted Milanese architects to decorate several new buildings that were part of the effort to reconstruct the city after the war. From 1949 on he started the so-called Spatial Concept or slash series, consisting in holes or slashes on the surface of monochrome paintings and he devised the generic title Concetto spaziale for these works and used it for almost all his later paintings. These can be divided into categories, the Buchi, beginning in 1949, and the Tagli. Fontana often lined the reverse of his canvases with black gauze so that the darkness would shimmer behind the open cuts and create a sense of illusion. He then created an elaborate neon ceiling called Luce spaziale in 1951 for the Triennale in Milan, in his important series of Concetto spaziale, La Fine di Dio, Fontana uses the egg shape. With his Pietre series, begun in 1952, Fontana fused the sculptural with painting by encrusting the surfaces of his canvases with heavy impasto and colored glass. In his Buchi cycle, begun in 1949-50, he punctured the surface of his canvases, from 1958 he purified his paintings by creating matte, monochrome surfaces, thus focusing the viewer’s attention on the slices that rend the skin of the canvas. He manipulated the paint with his fingers and various instruments to make furrows, Fontana was subsequently invited by Michel Tapié to exhibit the works at the Martha Jackson Gallery in New York. As a consequence of his first visit to New York in 1961, he created a series of metal works and these concerns were prominent at the 1966 Venice Biennale, for which he designed the environment for his work. At Documenta IV in Kassel in 1968, he positioned a large, plaster slash as the centre of a totally white labyrinth, including ceiling, shortly before his death he was present at the Destruction Art, Destroy to Create demonstration at the Finch College Museum of New York. Then he left his home in Milano and went to Comabbio, his familys mother town, Fontana created a prolific amount of graphic work with abstract motifs as well as figures, little-known in the art world, at the same time as he was producing his abstract perforated works
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Claes Oldenburg
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Claes Oldenburg is an American sculptor, best known for his public art installations typically featuring large replicas of everyday objects. Another theme in his work is soft sculpture versions of everyday objects, many of his works were made in collaboration with his wife, Coosje van Bruggen. Van Bruggen died in 2009 after 32 years of marriage, Oldenburg lives and works in New York. Claes Oldenburg was born on January 28,1929 in Stockholm and his father was then a Swedish diplomat stationed in New York and in 1936 was appointed Consul General of Sweden to Chicago where Oldenburg grew up, attending the Latin School of Chicago. He studied literature and art history at Yale University from 1946 to 1950, while further developing his craft, he worked as a reporter at the City News Bureau of Chicago. He also opened his own studio and, in 1953, became a citizen of the United States. In 1956, he moved to New York, working part-time in the library of the Cooper Union Museum for the Arts of Decoration. Oldenburgs first recorded sales of artworks were at the 57th Street Art Fair in Chicago and he moved back to New York City in 1956. Oldenburg began toying with the idea of sculpture in 1957. Oldenburgs first show that included works, in May 1959, was at the Judson Gallery. During this time, artist Robert Beauchamp described Oldenburg as brilliant, in the 1960s Oldenburg became associated with the Pop Art movement and created many so-called happenings, which were performance art related productions of that time. The name he gave to his own productions was Ray Gun Theater and his first wife Patty Mucha, who sewed many of his early soft sculptures, was a constant performer in his happenings. This brash, often humorous, approach to art was at odds with the prevailing sensibility that, by its nature. But Oldenburgs spirited art found first a niche then a great popularity that endures to this day, Oldenburg moved to Los Angeles in 1963 because it was the most opposite thing to New York could think of. That same year, he conceived AUT OBO DYS, performed in the lot of the American Institute of Aeronautics and Astronautics in December 1963. In 1965 he turned his attention to drawings and projects for imaginary outdoor monuments, in 1969, Oldenberg contributed a drawing to the Moon Museum. Many of Oldenburgs large-scale sculptures of mundane objects elicited ridicule before being accepted, for example, the 1969 Lipstick on Caterpillar Tracks, was removed from its original place in Beinecke Plaza at Yale University, and circulated on a loan basis to other campuses. With its bright color, contemporary form and material and its subject, it attacked the sterility
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Fritz Wotruba
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Fritz Wotruba was an Austrian sculptor of Czecho-Hungarian descent. He was considered one of the most notable sculptors of the 20th century in Austria, in his work, he increasingly dissolves figurative components in favor of geometrical abstraction with the shape of the cube as the basic form. Fritz Wotruba was born in 1907 as the youngest of eight children of Adolf Wotruba and Maria Wotruba, née Kocsi and his eldest brother was imprisoned for armed robbery and murder, and died in prison at Stein on the Danube. From 1921 to 1925, he was trained as an engraver, as an apprentice in the engraving, from February to summer 1926, he attended the arts and trades school of the Austrian Museum of Art and Industry and open evening courses on nude drawing. In fall 1926, he enrolled in studies in sculpting at the arts, in 1933, he had a studio under the Stadtbahn, or Metro Rail Tracks. Canetti. it consisted of two big vaults supporting the Stadtbahn trestle, in one stood figures that would have got in his way while he was working in the other, when the weather wasnt too bad, he liked best to work in the open. Probably his greatest work, on which he worked until his death, was the planning of the Church of the Holy Trinity in Mauer, Vienna and he did not live to see the completion of the church in 1976. Many of his statues can be seen in parks in Vienna. The Lying Adolescent is located in an exhibition in the Albertina and he escaped to Switzerland upon Hitlers ascent to power. A number of his sculptures were either lost or destroyed during the Second World War, in 1947, Wotruba was awarded the City of Vienna Prize for Visual Arts and in 1955, he received the Grand Austrian State Prize for Visual Arts. He is buried on the Zentralfriedhof in Vienna, Austria, Fritz Wotruba Society Fritz Wotruba in aeiou Encyclopedia
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Paul Signac
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Paul Victor Jules Signac was a French Neo-Impressionist painter who, working with Georges Seurat, helped develop the Pointillist style. Paul Signac was born in Paris on 11 November 1863 and he followed a course of training in architecture before deciding at the age of 18 to pursue a career as a painter after attending an exhibit of Monets work. He sailed around the coasts of Europe, painting the landscapes he encountered and he also painted a series of watercolors of French harbor cities in later years. In 1884 he met Claude Monet and Georges Seurat, many of Signacs paintings are of the French coast. He loved to paint the water and he left the capital each summer, to stay in the south of France in the village of Collioure or at St. Tropez, where he bought a house and invited his friends. Paul Signac, Albert Dubois-Pillet, Odilon Redon and Georges Seurat were among the founders of the Société des Artistes Indépendants, the association began in Paris 29 July 1884 with the organization of massive exhibitions, with the device No jury nor awards. The purpose of Société des Artistes Indépendants—based on the principle of abolishing admission jury—is to allow the artists to present their works to public judgement with complete freedom, for the following three decades their annual exhibitions set the trends in art of the early 20th century. At the 1905 Salon des Indépendants, Henri Matisse exhibited the proto-Fauve painting Luxe, Signac purchased the work after the 1905 Salon des Indépendants. In 1908 Signac was elected president of the 24th Salon des Indépendants, in 1886 Signac met Vincent van Gogh in Paris. In 1887 the two regularly went to Asnières-sur-Seine together, where they painted such subjects as river landscapes. Initially, Van Gogh chiefly admired Signac’s loose painting technique, in March 1889, Signac visited Van Gogh at Arles. The next year he made a trip to Italy, seeing Genoa, Florence. In 1888, Signac discovered anarchist ideas by reading Elisee Reclus, Kropotkin and Jean Grave, with his friends Angrand Cross, Maximilien Luce and Camille Pissarro he contributed to Jean Grave’s paper Les Temps Nouveaux. His financial support was considerable, he sent regular cheques and made a gift of his works for five lotteries between 1895 and 1912, from his various ports of call, Signac brought back vibrant, colorful watercolors, sketched rapidly from nature. From these sketches, he painted large canvases that are carefully worked out in small, mosaic-like squares of color, quite different from the tiny. Signac himself experimented with various media, as well as oil paintings and watercolors he made etchings, lithographs, and many pen-and-ink sketches composed of small, laborious dots. The Neo-Impressionists influenced the next generation, Signac inspired Henri Matisse and André Derain in particular, as president of the Société des Artistes Indépendants from 1908 until his death, Signac encouraged younger artists by exhibiting the controversial works of the Fauves and the Cubists. Signac served as a juror with Florence Meyer Blumenthal in awarding the Prix Blumenthal, in September 1913, Signac rented a house at Antibes, where he settled with Jeanne Selmersheim-Desgrange, who gave birth to their daughter Ginette on 2 October 1913
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Country Road in Provence by Night
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Road with Cypress and Star, also known as Country Road in Provence by Night, is an 1890 oil on canvas painting by Dutch post-Impressionist painter Vincent van Gogh. It is the last painting he made in Saint-Rémy-de-Provence, France, the painting is part of the large van Gogh collection of the Kröller-Müller Museum, located in the Hoge Veluwe National Park at Otterlo in the Netherlands. Road with Cypress and Star was painted in May 1890, in an earlier letter to his brother Theo, van Gogh wrote that cypresses were always occupying thoughts and that he found them beautiful of line and proportioned like an Egyptian obelisk. He had also intended on painting a nighttime view of the trees since his stay in Arles in 1888, Erickson suggests that the painting is influenced by the Christian allegory The Pilgrims Progress, visible in the prominent road and cypress tree. The painting is one of several in which van Gogh uses cypresses prominently, according to Kathleen Powers Erickson, Road with Cypress and Star more strongly reflects van Goghs belief that he would soon die than the earlier painting The Starry Night. She finds the pair of travellers an indication of van Goghs need for companionship, naomi Maurer also writes that Road with Cypress and Star reflects the painters feeling that he would soon die. She views the painting as depicting human life as being in the context of infinity and eternity, the evening star and crescent moon on either side of the tree she describes as adding cosmic perspective to the earthly scene and suggesting a sentient universe filled with love. Footnotes Bibliography Olson, Donald, Doescher, Russell, van Gogh, Two Planets, and the Moon. Van Gogh, paintings and drawings, a loan exhibition, a fully digitized exhibition catalog from The Metropolitan Museum of Art Libraries
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Georges Seurat
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Georges-Pierre Seurat was a French post-Impressionist painter and draftsman. He is noted for his use of drawing media and for devising the painting techniques known as chromoluminarism and pointillism. His large-scale work, A Sunday Afternoon on the Island of La Grande Jatte, altered the direction of art by initiating Neo-impressionism. Seurat was born 2 December 1859 in Paris, at 60 rue de Bondy, the Seurat family moved to 136 boulevard de Magenta in 1862 or 1863. His father, Antoine Chrysostome Seurat, originally from Champagne, was a legal official who had become wealthy from speculating in property. Georges had a brother, Émile Augustin, and a sister, Marie-Berthe and his father lived in Le Raincy and visited his wife and children once a week at boulevard de Magenta. Georges Seurat first studied art at the École Municipale de Sculpture et Dessin, near his familys home in the boulevard Magenta, Seurats studies resulted in a well-considered and fertile theory of contrasts, a theory to which all his work was thereafter subjected. His formal artistic education came to an end in November 1879, after a year at the Brest Military Academy, he returned to Paris where he shared a studio with his friend Aman-Jean, while also renting a small apartment at 16 rue de Chabrol. For the next two years, he worked at mastering the art of monochrome drawing and his first exhibited work, shown at the Salon, of 1883, was a Conté crayon drawing of Aman-Jean. He also studied the works of Eugène Delacroix carefully, making notes on his use of color and he spent 1883 working on his first major painting—a large canvas titled Bathers at Asnières, a monumental work showing young men relaxing by the Seine in a working-class suburb of Paris. Seurat also departed from the Impressionist ideal by preparing for the work with a number of drawings, Bathers at Asnières was rejected by the Paris Salon, and instead he showed it at the Groupe des Artistes Indépendants in May 1884. Seurats new ideas on pointillism were to have a strong influence on Signac. In the summer of 1884, Seurat began work on A Sunday Afternoon on the Island of La Grande Jatte, the painting shows members of each of the social classes participating in various park activities. The tiny juxtaposed dots of multi-colored paint allow the eye to blend colors optically. It took Seurat two years to complete this 10-foot-wide painting, much of which he spent in the park sketching in preparation for the work and it is now in the permanent collection of the Art Institute of Chicago. The painting was the inspiration for James Lapine and Stephen Sondheims musical, Seurat concealed his relationship with Madeleine Knobloch, an artists model whom he portrayed in his painting Jeune femme se poudrant. In 1889 she moved in with Seurat in his studio on the 7th floor of 128bis Boulevard de Clichy, when Madeleine became pregnant, the couple moved to a studio at 39 passage de lÉlysée-des-Beaux-Arts. There she gave birth to their son, who was named Pierre-Georges,16 February 1890, Seurat died in Paris in his parents home on 29 March 1891 at the age of 31
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Henri-Edmond Cross
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Henri-Edmond Cross, born Henri-Edmond-Joseph Delacroix, was a French painter and printmaker. He is most acclaimed as a master of Neo-Impressionism and he played an important role in shaping the second phase of that movement and he was a significant influence on Henri Matisse and many other artists. His work was instrumental in the development of Fauvism, Henri-Edmond-Joseph Delacroix was born in Douai, a commune in the Nord départment in northern France, on 20 May 1856. His parents, with a history of ironmongery, were Alcide Delacroix, a French adventurer. In 1865 the family moved to a location near Lille, a northern French city close to the Belgian border, alcides cousin, Dr. Henri was Durans protégé for a year. His studies continued for a time in Paris in 1875 with François Bonvin before returning to Lille. He studied at the École des Beaux-Arts, and in 1878 he enrolled at the Écoles Académiques de Dessin et dArchitecture and his art education continued, under fellow Douai artist Émile Dupont-Zipcy, after moving to Paris in 1881. Crosss early works, portraits and still lifes, were in the colors of Realism. 1881 was also the year of his first exhibition at the Salon des Artistes Français and he painted many landscapes on an 1883 trip to the Alpes-Maritimes, accompanied by his family. Dr. Soins, who was also along on the trip, was the subject of a painting that Cross exhibited at Nices Exposition Universelle later in the year, during the Mediterranean trip, Cross met Paul Signac, who became a close friend and artistic influence. In 1884 Cross co-founded the Société des Artistes Indépendants, which consisted of artists displeased with the practices of the official Salon, there, he met and became friends with many artists involved in the Neo-Impressionist movement, including Georges Seurat, Albert Dubois-Pillet, and Charles Angrand. Despite his association with the Neo-Impressionists, Cross did not adopt their style for many years and his work continued to manifest influences such as Jules Bastien-Lepage and Édouard Manet, as well as the Impressionists. The change from his early, somber, Realist work was gradual and his color palette became lighter, working in the brighter colors of Impressionism. He also worked en plein air, in the latter part of the 1880s, he painted pure landscapes that showed the influence of Claude Monet and Camille Pissarro. In about 1886, again attempting to differentiate himself from another French artist – this time, Henri Cros – he again changed his name, in 1891 Cross began painting in the Neo-Impressionist style, and exhibited his first large piece using this technique in an Indépendants show. That painting was a divisionist portrait of Madame Hector France, née Irma Clare, robert Rosenblum wrote that the picture is softly charged with a granular, atmospheric glow. Cross had wintered in the south of France from 1883 onward, until, suffering from rheumatism and his works were still exhibited in Paris. Crosss affinity with the Neo-Impressionist movement extended beyond the style to include their political philosophies
39.
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
40.
Coucher de soleil no. 1
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Coucher de soleil no.1 is an oil painting created circa 1906 by the French artist and theorist Jean Metzinger. Coucher de soleil no.1 is a work executed in a mosaic-like Divisionist style with a Fauve palette, the reverberating image of the sun in Metzingers painting is an homage to the decomposition of spectral light at the core of Neo-Impressionist color theory. Coucher de soleil was exhibited in Paris during the spring of 1907 at the Salon des Indépendants, along with Bacchante, the painting had been in the collection of Helene Kröller-Müller since 1921, and is currently at the Kröller-Müller Museum, Otterlo, Netherlands. Coucher de soleil no.1 is an oil painting on canvas in a format with dimensions 72.5 x 100 cm, signed J. Metzinger. Also on the verso is another painting by Metzinger representing a scene with ships. The work represents two nude women relaxing in a lush Mediterranean landscape with semi-tropical vegetation, hills, trees, a body of water, the plants to the lower left resemble the Agave, a species found in the south of France, Spain and Greece. Agave is also the name of three characters in Greek mythology, Agave, one of the Nereids, Agave, one of the Danaids, daughter of Danaus and Europa. She married Lycus, son of Aegyptus and Argyphia, the two nudes appear to play a secondary role in the overall composition due to their small size. But their prominent location in the foreground and the nature of public nudity propels them to a position that cannot be ignored. In this luscious setting—as in Luxe, Calme et Volupté by Henri Matisse—Metzinger makes use all the colors in the spectrum of visible light.4 x 63.8 cm with a radiating sun above the bathers. The brushstrokes are smaller in size consistent with Metzingers style of late 1905, in 1906 and 1907 Metzingers brushstrokes became larger and more organized, structured within a highly geometrized framework already proto-Cubist in appearance. As its name implies, Coucher de soleil no.1 might have been the first in a series of sunsets, though no other works by Metzinger are known by the titles Coucher de soleil no.2 or No. 1906, oil on canvas,49.9 x 67.7 cm, or even La tour de Batz au coucher de soleil,54 x 73 cm, indeed, these clues would seem to suggest Coucher de soleil no. The Fauves, were influenced by Neo-Impressionism, calling upon rational and scientific thought. Mechanical brushwork suppressed the personality of the artist in an act of defiance against the Impressionists. The Symbolists too would strip away the casual and accidental features of reality, whether such a revelation could be backed up by a scientific theory or not, there were still examples that could be codified. The problem was that pigments reflect light, they are not a light source themselves, colors in the spectra of light did not respond in the same way as color pigments painted on canvas. For example, red and blue light rays result in white light, Metzingers response in Coucher de soleil no
41.
Joseph Csaky
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Joseph Csaky was a Hungarian avant-garde artist, sculptor, and graphic artist, best known for his early participation as a sculptor in the Cubist movement. Joseph Csaky was one of the first sculptors in Paris to apply the principles of pictorial Cubism to his art, a pioneer of modern sculpture, Csaky is among the most important sculptors of the early 20th century. He was an member of the Section dOr group between 1911 and 1914, and closely associated with De Stijl and Purism throughout the 1920s. Csaky fought alongside French soldiers during World War I and in 1922 became a naturalized French citizen and he was a founding member of lUnion des Artistes modernes in 1929. During World War II, Csaky joined forces with the French underground movement in Valençay, in the late 1920s, he collaborated with some other artists in designing furniture and other decorative pieces, including elements of the Studio House for the designer Jacques Doucet. After 1928, Csaky moved away from Cubism into a figurative or representational style for nearly thirty years. He exhibited internationally across Europe, but some of his pioneering artistic innovation was forgotten and his work today is primarily held by French and Hungarian institutions, as well as galleries and private collections both in France and abroad. József Csáky was born in Szeged, Hungary, then part of the monarchy of the Austro-Hungarian Empire. A provincial southern city, Szeged is now the third-largest in the country, Csaky moved with his family to Budapest at an early age, where he frequented museums and galleries. In 1905 Csaky was accepted at the Academy of Applied Arts in Budapest, where he studied under the direction of the sculptor Mátrai Lajos, ifj. for one and a half years. In 1907, for six and a half months, he worked in the Zsolnay Factory in Pécs, making ceramic ashtrays and he worked briefly as a metal founder in Budapest, and at one point with a taxidermist. Attracted by its reputation for lights and great artists, Csaky made the decision to move to Paris France and he traveled mostly by foot, walking fifty or sixty kilometers per day during the summer of 1908. In Paris a new world opened up for him and he made a living by doing odd jobs, working as a peddler, stone cutter, and posing as a model for students at a local art school, making 20 francs a week. He later posed for artists in their own studios, making more money. By autumn of 1908 he shared a space at Cité Falguière with Joseph Brummer. Within three weeks of Csakys arrival in Paris, Brummer showed the newcomer a sculpture he was working on, Brummer told Csaky that another artist in Paris, a Spaniard named Pablo Picasso, was painting in the spirit of Negro sculptures. Shortly after, Csaky found a studio at the artists collective La Ruche in Montparnasse, the building had been constructed by Gustave Eiffel, and was adapted as artists studios by the sculptor Alfred Boucher. Among other émigré artists at La Ruche were Alexander Archipenko, Wladimir Baranoff-Rossine, with his discovery of the work of Auguste Rodin laying the groundwork for an oeuvre characterized by a mastery of sculptural techniques, Csakys work in stone carving would evolve
42.
Richard Serra
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Richard Serra is an American minimalist sculptor and video artist known for working with large-scale assemblies of sheet metal. Serra was involved in the Process Art Movement and he lives and works in Tribeca, New York, and on Cape Breton Island in Nova Scotia. Serra was born on November 2,1938, in San Francisco as the second of three sons and his father, Tony, was a Spanish native of Mallorca who worked as candy factory foreman. His mother, Gladys Feinberg, was a Los Angeles-born Russian Jewish immigrant from Odessa. He went on to study English literature at the University of California, Berkeley in 1957 before transferring to the University of California, Santa Barbara, while at Santa Barbara, he studied art with Howard Warshaw and Rico Lebrun. On the West Coast, he helped himself by working in steel mills. Serra discussed his life and influences in an interview in 1993. ”Serra studied painting in the M. F. A. program at the Yale University School of Art. Fellow Yale Art and Architecture alumni of the 1960s include the painters, photographers and he claims to have taken most of his inspiration from the artists who taught there, most notably Philip Guston and the experimental composer Morton Feldman, as well as designer Josef Albers. With Albers, he worked on his book Interaction of Color and he continued his training abroad, spending a year each in Florence and Paris. In 1964, he was awarded a Fulbright Scholarship for Rome, since then, he has lived in New York, where he first used rubber in 1966 and began applying his characteristic work material lead in 1968. In New York, his circle of friends included Carl Andre, Walter De Maria, Eva Hesse, Sol LeWitt, and Robert Smithson. At one point, to fund his art, Serra started a business, Low-Rate Movers, and employed Chuck Close, Philip Glass, Spalding Gray. In 1966, Serra made his first sculptures out of materials such as fiberglass. Serras earliest work was abstract and process-based made from molten lead hurled in large splashes against the wall of a studio or exhibition space. He began in 1969 to be concerned with the cutting, propping or stacking of lead sheets, rough timber, etc. to create structures, some very large. His “Prop” pieces from the late 1960s are arranged so that weight and gravity balance lead rolls, cutting Device, Base Plate Measure consists of an assemblage of heterogeneous materials into which two parallel cuts have been made and the results strewn around in a chance configuration. In Malmo Role, a steel plate, one and a half inches thick. Still, he is known for his minimalist constructions from large rolls
43.
Museum director
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A curator is a manager or overseer. Traditionally, a curator or keeper of a heritage institution is a content specialist charged with an institutions collections. A traditional curators concern necessarily involves tangible objects of some sort—artwork, collectibles, historic items, more recently, new kinds of curators have started to emerge, curators of digital data objects and biocurators. In smaller organizations, a curator may have responsibility for acquisitions. In very small, volunteer-based museums such as historical societies. Such institutions can have multiple curators, each assigned to a collecting area. In the museum setting, a curator in the United Kingdom may also be called a keeper, in Scotland, the term curator is also used to mean the guardian of a child. In the United States, this job is multifaceted and dependent on the particular institution, however, in recent years, the role of a curator has evolved alongside the changing role of museums. As museums in the United States have become increasingly more digitized, curators find themselves constructing narratives in both the material and digital worlds. Historian Elaine Gurian has called for museums in which “visitors could comfortably search for answers to their own regardless of the importance placed on such questions by others. ”This would change the role of curator from teacher to “facilitator and assistor. ”In this sense, the role of curator in the United States is precarious, as digital and interactive exhibits often allow the public to become their own curator. Citizens are then able to educate themselves on the subject they are interested in. More recently, advances in new technologies have led to a widening of the role of curator. This has been a focus in major art institutions internationally and has become an object of academic study, in contemporary art, the title curator is given to a person who selects and often interprets works of art. In addition to selecting works, the curator often is responsible for writing labels, catalog essays, such curators may be permanent staff members, guest curators from an affiliated organization or university, or freelance curators working on a consultant basis. The late twentieth century saw an explosion of artists organizing exhibitions, the artist-curator has a long tradition of influence. Notable among these was Sir Joshua Reynolds, founder of the Royal Academy of Arts, in some US organizations, the term curator is also used to designate the head of any given division of a cultural organization. This has led to the proliferation of such as Curator of Education. The term literary curator has been used to persons who work in the field of poetry
44.
NRC Handelsblad
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NRC Handelsblad, often abbreviated to NRC, is a daily evening newspaper published in the Netherlands by NRC Media. NRC Handelsblad was first published on 1 October 1970 after a merger of the Amsterdam newspaper Algemeen Handelsblad, the papers motto is Lux et Libertas – Light and Freedom. In February 2006, NRC Handelsblad started a newspaper, nrc•next. Editor Folkert Jensma was succeeded on 12 December 2006, by Birgit Donker, after a dispute with the new owners Donker had to step down on 26 April 2010 and was replaced by Belgian Peter Vandermeersch. On 7 March 2011 the paper changed its format from broadsheet to tabloid, the circulation of NRC Handelsblad in 2014 was 188,500 copies, putting it in 4th place among the national dailies. In 2015 the NRC Media group was acquired by the Belgian company Mediahuis
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Media related to Kröller-Müller Museum at Wikimedia Commons
