1.
Copenhagen
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Copenhagen, Danish, København, Latin, Hafnia) is the capital and most populous city of Denmark. Copenhagen has an population of 1,280,371. The Copenhagen metropolitan area has just over 2 million inhabitants, the city is situated on the eastern coast of the island of Zealand, another small portion of the city is located on Amager, and is separated from Malmö, Sweden, by the strait of Øresund. The Øresund Bridge connects the two cities by rail and road, originally a Viking fishing village founded in the 10th century, Copenhagen became the capital of Denmark in the early 15th century. Beginning in the 17th century it consolidated its position as a centre of power with its institutions, defences. After suffering from the effects of plague and fire in the 18th century and this included construction of the prestigious district of Frederiksstaden and founding of such cultural institutions as the Royal Theatre and the Royal Academy of Fine Arts. Later, following the Second World War, the Finger Plan fostered the development of housing, since the turn of the 21st century, Copenhagen has seen strong urban and cultural development, facilitated by investment in its institutions and infrastructure. The city is the cultural, economic and governmental centre of Denmark, Copenhagens economy has seen rapid developments in the service sector, especially through initiatives in information technology, pharmaceuticals and clean technology. Since the completion of the Øresund Bridge, Copenhagen has become integrated with the Swedish province of Scania and its largest city, Malmö. With a number of connecting the various districts, the cityscape is characterized by parks, promenades. Copenhagen is home to the University of Copenhagen, the Technical University of Denmark, the University of Copenhagen, founded in 1479, is the oldest university in Denmark. Copenhagen is home to the FC København and Brøndby football clubs, the annual Copenhagen Marathon was established in 1980. Copenhagen is one of the most bicycle-friendly cities in the world, the Copenhagen Metro serves central Copenhagen while the Copenhagen S-train network connects central Copenhagen to its outlying boroughs. Serving roughly 2 million passengers a month, Copenhagen Airport, Kastrup, is the largest airport in the Nordic countries, the name of the city reflects its origin as a harbour and a place of commerce. The original designation, from which the contemporary Danish name derives, was Køpmannæhafn, meaning merchants harbour, the literal English translation would be Chapmans haven. The English name for the city was adapted from its Low German name, the abbreviations Kbh. or Kbhvn are often used in Danish for København, and kbh. for københavnsk. The chemical element hafnium is named for Copenhagen, where it was discovered, the bacterium Hafnia is also named after Copenhagen, Vagn Møller of the State Serum Institute in Copenhagen named it in 1954. Excavations in Pilestræde have also led to the discovery of a well from the late 12th century, the remains of an ancient church, with graves dating to the 11th century, have been unearthed near where Strøget meets Rådhuspladsen
2.
Denmark
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The term Danish Realm refers to the relationship between Denmark proper, the Faroe Islands and Greenland—three countries constituting the Kingdom of Denmark. The legal nature of the Kingdom of Denmark is fundamentally one of a sovereign state. The Faroe Islands and Greenland have been part of the Crown of Denmark since 1397 when the Kalmar Union was ratified, legal matters in The Danish Realm are subject to the Danish Constitution. Beginning in 1953, state law issues within The Danish Realm has been governed by The Unity of the Realm, a less formal name for The Unity of the Realm is the Commonwealth of the Realm. In 1978, The Unity of The Realm was for the first time referred to as rigsfællesskabet. The name caught on and since the 1990s, both The Unity of The Realm and The Danish Realm itself has increasingly been referred to as simply rigsfællesskabet in daily parlance. The Danish Constitution stipulates that the foreign and security interests for all parts of the Danish Realm are the responsibility of the Danish government, the Faroes received home rule in 1948 and Greenland did so in 1979. In 2005, the Faroes received a self-government arrangement, and in 2009 Greenland received self rule, the Danish Realms unique state of internal affairs is acted out in the principle of The Unity of the Realm. This principle is derived from Article 1 of the Danish Constitution which specifies that constitutional law applies equally to all areas of the Danish Realm, the Constitutional Act specifies that sovereignty is to continue to be exclusively with the authorities of the Realm. The language of Denmark is Danish, and the Danish state authorities are based in Denmark, the Kingdom of Denmarks parliament, with its 179 members, is located in the capital, Copenhagen. Two of the members are elected in each of Greenland and the Faroe Islands. The Government ministries are located in Copenhagen, as is the highest court, in principle, the Danish Realm constitutes a unified sovereign state, with equal status between its constituent parts. Devolution differs from federalism in that the powers of the subnational authority ultimately reside in central government. The Self-Government Arrangements devolves political competence and responsibility from the Danish political authorities to the Faroese, the Faroese and Greenlandic authorities administer the tasks taken over from the state, enact legislation in these specific fields and have the economic responsibility for solving these tasks. The Danish government provides a grant to the Faroese and the Greenlandic authorities to cover the costs of these devolved areas. The 1948 Home Rule Act of the Faroe Islands sets out the terms of Faroese home rule, the Act states. the Faroe Islands shall constitute a self-governing community within the State of Denmark. It establishes the government of the Faroe Islands and the Faroese parliament. The Faroe Islands were previously administered as a Danish county, the Home Rule Act abolished the post of Amtmand and these powers were expanded in a 2005 Act, which named the Faroese home government as an equal partner with the Danish government
3.
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
4.
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
5.
Little Dancer of Fourteen Years
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The Little Fourteen-Year-Old Dancer is a c.1881 sculpture by Edgar Degas of a young student of the Paris Opera Ballet dance school, a Belgian named Marie van Goethem. The sculpture is life size and was originally sculpted in wax. It is dressed in a bodice, tutu and ballet slippers and has a wig of real hair. All but a ribbon and the tutu are covered in wax. The 28 bronze repetitions that appear in museums and galleries around the world today were cast after Degas death, the tutus worn by the bronzes vary from museum to museum. The exact relationship between Marie van Goethem and Edgar Degas is a matter of debate and it was common in 1880 for the Petits Rats of the Paris Opera to seek protectors from among the wealthy visitors at the back door of the opera. When the La Petite Danseuse de Quatorze Ans was shown in Paris at the Sixth Impressionist Exhibition of 1881, joris-Karl Huysmans called it the first truly modern attempt at sculpture I know. Certain critics were shocked by the piece, and the dancer was compared to a monkey, one critic, Paul Mantz, called her the flower of precocious depravity, with a face marked by the hateful promise of every vice and bearing the signs of a profoundly heinous character. Comparisons with older art were made, perhaps partly because it was exhibited in a case, like classical sculpture in the Louvre. The arms are taut, and the legs are quite twisted round, and there is tension in the pose, after Degas death, his heirs made the decision to have the bronze repetitions of Le Petite Danseuse and other wax and mixed-media sculptures cast. The casting took place at the Hébrard foundry in Paris from 1920 until the mid-20th century, sixty-nine of Degass wax sculptures survived the casting process. One copy of Le Petite Danseuse is currently owned by the creator and owner of Auto Trader and he stated that he bought the sculpture by accident. That copy was sold for £13,257,250 at Sothebys on February, another casting failed to sell at a November 2011 auction at Christies. To construct the statue, Degas used a lead pipe armature and, to some extent, the original wax sculpture was acquired by Paul Mellon in 1956. Beginning in 1985, Mr and Mrs Mellon gave the National Gallery of Art 49 Degas waxes,10 bronzes and 2 plasters, Little Dancer was among the bequests. A version is kept by the M. T. Abraham Center for the Visual Arts Foundation, and at times loaned out to other institutions, Art historian Richard Kendall published a scholarly account of the history of Degass sculpture, Degas and the Little Dancer, with contributions by Douglas Druick and Arthur Beale. The piece inspired two of Damien Hirsts works, Virgin Mother and Verity, the sculpture is prominently featured in the 1993 thriller Malice
6.
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
7.
Ancient Greek sculpture
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Ancient Greek sculpture is the sculpture of ancient Greece. Modern scholarship identifies three major stages, frequent subjects were the battles, mythology, and rulers of the area historically known as Ancient Greece. Smaller works were in a variety of materials, many of them precious. The ores for bronze were also easy to obtain. Marble was mostly found around the Parthenon and other major Greek buildings, many copies of the Roman period are marble versions of works originally in bronze. Ordinary limestone was used in the Archaic period, but thereafter, except in areas of modern Italy with no local marble, only for architectural sculpture, plaster or stucco was sometimes used for the hair only. Many statues were given jewellery, as can be seen from the holes for attaching it, by the early 19th century, the systematic excavation of ancient Greek sites had brought forth a plethora of sculptures with traces of notably multicolored surfaces, some of which were still visible. It was not until published findings by German archaeologist Vinzenz Brinkmann in the late 20th and he analyzed the pigments of the original paint to discover their composition. Brinkmann made several painted replicas of Greek statues that went on tour around the world, museums that hosted the exhibit included the Glyptotek Museum in Munich, the Vatican Museum, and the National Archaeological Museum in Athens, et al. The collection made its American debut at Harvard University in the Fall of 2007 and it is commonly thought that the earliest incarnation of Greek sculpture was in the form of wooden cult statues, first described by Pausanias as xoana. No such statues survive, and the descriptions of them are vague, the first piece of Greek statuary to be reassembled since is probably the Lefkandi Centaur, a terra cotta sculpture found on the island of Euboea, dated c.920 BCE. The statue was constructed in parts, before being dismembered and buried in two separate graves, the centaur has an intentional mark on its knee, which has led researchers to postulate that the statue might portray Cheiron, presumably kneeling wounded from Herakles arrow. If so, it would be the earliest known depiction of myth in the history of Greek sculpture, the forms from the geometrical period were chiefly terra cotta figurines, bronzes, and ivories. The bronzes are chiefly tripod cauldrons, and freestanding figures or groups, typical works of the era include the Karditsa warrior and the many examples of the equestrian statuette. The repertory of this work is not confined to standing men and horses, however, as vase paintings of the time also depict imagery of stags, birds, beetles, hares. There are no inscriptions on early-to-middle geometric sculpture, until the appearance of the Mantiklos Apollo of the early 7th century BCE found in Thebes, the inscription is a declaration of the statuette to Apollo, followed by a request for favors in return. Apart from the novelty of recording its own purpose, this sculpture adapts the formulae of oriental bronzes, as seen in the shorter more triangular face and slightly advancing left leg. This is sometimes seen as anticipating the greater freedom of the 7th century BCE and, as such
8.
Roman sculpture
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The study of Roman sculpture is complicated by its relation to Greek sculpture. Many examples of even the most famous Greek sculptures, such as the Apollo Belvedere, examples of Roman sculpture are abundantly preserved, in total contrast to Roman painting, which was very widely practiced but has almost all been lost. Latin and some Greek authors, particularly Pliny the Elder in Book 34 of his Natural History, describe statues, and a few of these descriptions match extant works. Most statues were actually far more lifelike and often brightly colored when originally created, early Roman art was influenced by the art of Greece and that of the neighbouring Etruscans, themselves greatly influenced by their Greek trading partners. An Etruscan speciality was near life size tomb effigies in terracotta, vast numbers of Greek statues were imported to Rome, whether as booty or the result of extortion or commerce, and temples were often decorated with re-used Greek works. A native Italian style can be seen in the monuments of prosperous middle-class Romans, which very often featured portrait busts. The Tomb of Eurysaces the Baker, a successful freedman has a frieze that is a large example of the plebeian style. For a much wider section of the population, moulded relief decoration of vessels and small figurines were produced in great quantity. Even the most important imperial monuments now showed stumpy, large-eyed figures in a harsh frontal style, the hallmark of the style wherever it appears consists of an emphatic hardness, heaviness and angularity — in short, an almost complete rejection of the classical tradition. During the Imperial era, more idealized statues of Roman emperors became ubiquitous, tombstones of even the modestly rich middle class sometimes exhibit portraits of the otherwise unknown deceased carved in relief. Among the many museums with examples of Roman portrait sculpture, the collections of the Metropolitan Museum of Art in New York, religious art was also a major form of Roman sculpture. A central feature of a Roman temple was the statue of the deity. Although images of deities were also displayed in gardens and parks. These typically show more variation in style than large and more official works. Elsewhere the stela gravestone remained more common, Sarcophagi divide into a number of styles, by the producing area. The time taken to make them encouraged the use of standard subjects, to which inscriptions might be added to personalize them, the sarcophagi offer examples of intricate reliefs that depict scenes often based on Greek and Roman mythology or mystery religions that offered personal salvation, and allegorical representations. Roman funerary art also offers a variety of scenes from life, such as game-playing, hunting. The Sarcophagus of Junius Bassus is of type, asnd the earlier Dogmatic Sarcophagus rather simpler
9.
Post-Impressionism
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Post-Impressionism is a predominantly French art movement that developed roughly between 1886 and 1905, from the last Impressionist exhibition to the birth of Fauvism. Post-Impressionism emerged as a reaction against Impressionists concern for the depiction of light. The movement was led by Paul Cézanne, Paul Gauguin, Vincent van Gogh, the term Post-Impressionism was first used by art critic Roger Fry in 1906. Three weeks later, Roger Fry used the term again when he organized the 1910 exhibition, Manet, the Post-Impressionists were dissatisfied with what they felt was the triviality of subject matter and the loss of structure in Impressionist paintings, though they did not agree on the way forward. Georges Seurat and his followers concerned themselves with Pointillism, the use of tiny dots of colour. Paul Cézanne set out to restore a sense of order and structure to painting, to make of Impressionism something solid and durable and he achieved this by reducing objects to their basic shapes while retaining the saturated colours of Impressionism. The Impressionist Camille Pissarro experimented with Neo-Impressionist ideas between the mid-1880s and the early 1890s, Vincent van Gogh used colour and vibrant swirling brush strokes to convey his feelings and his state of mind. Although they often exhibited together, Post-Impressionist artists were not in agreement concerning a cohesive movement, yet, the abstract concerns of harmony and structural arrangement, in the work of all these artists, took precedence over naturalism. Artists such as Seurat adopted a scientific approach to colour. Younger painters during the early 20th century worked in geographically disparate regions and in various categories, such as Fauvism and Cubism. Most of the artists in Frys exhibition were younger than the Impressionists, Fry later explained, For purposes of convenience, it was necessary to give these artists a name, and I chose, as being the vaguest and most non-committal, the name of Post-Impressionism. This merely stated their position in time relatively to the Impressionist movement, john Rewald limited the scope to the years between 1886 and 1892 in his pioneering publication on Post-Impressionism, From Van Gogh to Gauguin. This volume would extend the period covered to other artistic movements derived from Impressionism, though confined to the late 19th, Rewald focused on such outstanding early Post-Impressionists active in France as van Gogh, Gauguin, Seurat, and Redon. Pont-Aven School, implying more than that the artists involved had been working for a while in Pont-Aven or elsewhere in Brittany. Symbolism, a highly welcomed by vanguard critics in 1891. Rewald wrote that the term Post-Impressionism is not a precise one. Convenient, when the term is by definition limited to French visual arts derived from Impressionism since 1886, rewalds approach to historical data was narrative rather than analytic, and beyond this point he believed it would be sufficient to let the sources speak for themselves. Rival terms like Modernism or Symbolism were never as easy to handle, for they covered literature, architecture and other arts as well, Symbolism, however, is considered to be a concept which emerged a century later in France, and implied an individual approach
10.
Danish Golden Age
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The Danish Golden Age covers a period of exceptional creative production in Denmark, especially during the first half of the 19th century. Although Copenhagen had suffered fires, bombardment and national bankruptcy. It also saw the development of Danish architecture in the Neoclassical style, Copenhagen, in particular, acquired a new look, with buildings designed by Christian Frederik Hansen and by Michael Gottlieb Bindesbøll. In relation to music, the Golden Age covers figures inspired by Danish romantic nationalism including J. P. E. Hartmann, Hans Christian Lumbye, Niels W. Gade, literature centred on Romantic thinking, introduced in 1802 by the Norwegian-German philosopher Henrik Steffens. Key contributors were Adam Oehlenschläger, Bernhard Severin Ingemann, N. F. S. Grundtvig and, last but not least, Hans Christian Andersen, Søren Kierkegaard furthered philosophy while Hans Christian Ørsted achieved fundamental progress in science. The Golden Age thus had an effect not only on life in Denmark but, with time. The origins of the Golden Age can be traced back to around the beginning of the 19th century, surprisingly, this was a very rough period for Denmark. Copenhagen, the centre of the intellectual life, first experienced huge fires in 1794 and 1795 which destroyed both Christiansborg Palace and large areas of the inner city. In 1801, as a result of the involvement in the League of Armed Neutrality. Then in 1813, as a result of the inability to support the costs of war. To make matters worse, Norway ceased to be part of the Danish realm when it was ceded to Sweden the following year, Copenhagens devastation nevertheless provided new opportunities. Architects and planners widened the streets, constructing beautifully designed Neoclassical buildings offering a brighter yet intimate look, at the time, with a population of only 100,000, the city was still quite small, built within the confines of the old ramparts. As a result, the figures of the day met frequently, sharing their ideas, bringing the arts. Henrik Steffens was perhaps the most effective proponent of the Romantic idea, in a series of lectures in Copenhagen, he successfully conveyed the ideas behind German romanticism to the Danes. Influential thinkers, such as Oehlenschläger and Grundtvig were quick to take up his views and it was not long before Danes from all branches of the arts and sciences were involved in a new era of Romantic nationalism, later known as the Danish Golden Age. Especially in the field of painting, change became apparent, grand historical art gave way to more widely appealing but less pretentious genre paintings and landscapes. The Golden Age is generally believed to have lasted until about 1850, around that time, Danish culture suffered from the outbreak of the First Schleswig War. In addition, political reforms involving the end of the monarchy in 1848
11.
Vilhelm Dahlerup
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Jens Vilhelm Dahlerup was a Danish architect who specialized in the Historicist style. Dahlerup was born outside Mariager in Northern Jutland, Denmark, the son of a provost and he received his first drawing lessons in Århus in 1853, then moving to Copenhagen to study at the Royal Danish Academy of Fine Arts which he started in 1856. During his studies at the Academy, he won the Academys silver and gold medals several times, in 1871 he became a member of the Academy, in 1875 becoming a Professor. Dahlerup trained under G. F. Hetsch and J. H. Nebelong, from 1870 he was an artistic advisor for the Port of Copenhagen and for a while he served as the house architect of Tivoli Gardens. For many years he was the architect of Carl Jacobsen and is the architect behind many of the most known buildings at the Carlsberg site. W
12.
Hack Kampmann
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Hack Kampmann was a Danish architect and professor of architecture at the architecture department of the Royal Danish Academy of Fine Arts in Copenhagen. His parents were Christian Peter Georg Kampmann, a priest, Kampmann went on numerous study trips throughout Europe, paid for by several scholarships, including northern Italy, Greece and Sweden. He also attended the École des Beaux-Arts in Paris in 1882, Kampmann was initially one of the leading Danish proponents of the national romantic style. However, during the 1920s he adopted the Nordic Classicism style and his most famous work is one of the culminations of the style, the Police Headquarters in Copenhagen he was among the initiators of 1920s Nordic Classicism. This last building was completed after his death in summer 1920 by his two sons, Christian and Hans Jørgen Kampmann, together with Rafn, Kampmann also was responsible for a number of building restoration projects, notably Aarhus Cathedral. In his watercolours he managed to capture the impression, the characteristic wet style seen in the watercolours of Aage Rafn, Steen Eiler Rasmussen. Kampmann is one of the most influential architects in Danish architectural history
13.
Henning Larsen
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Henning Larsen, Hon. FAIA was a Danish architect. He is internationally known for the Ministry of Foreign Affairs building in Riyadh, Larsen studied at the Royal Danish Academy of Fine Arts, from which he graduated in 1952. He continued studies subsequently at the Architectural Association School of Architecture and his mentors included Arne Jacobsen and Jørn Utzon. Larsen founded a firm that bears his name, Henning Larsen Architects. From 1968 to 1995, he was a professor of architecture at the Royal Danish Academy of Fine Arts, in 1985, he established the SKALA architecture gallery and the parallel SKALA architecture journal, both entities of which continued until 1994. F. En frise over Henning Larsen som menneske og arkitekt, Politikens Forlag 2000, ISBN 87-567-6551-7 Henning Larsen, kulturhistorisk testamente om Operaen, Peoples Press 2009. ISBN 978-87-7055-783-2 Henning Larsen at the archINFORM database, Henning Larsen Architects Sketches by Henning Larsen University Campus In Kolding
14.
Pompey
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Gnaeus Pompeius Magnus, usually known in English as Pompey /ˈpɒmpiː/ or Pompey the Great, was a military and political leader of the late Roman Republic. He came from a wealthy Italian provincial background, and his father had been the first to establish the family among the Roman nobility, Pompeys immense success as a general while still very young enabled him to advance directly to his first consulship without meeting the normal requirements for office. His success as a commander in Sullas Second Civil War resulted in Sulla bestowing the nickname Magnus. He was consul three times and celebrated three triumphs, after the deaths of Julia and Crassus, Pompey sided with the optimates, the conservative faction of the Roman Senate. Pompey and Caesar then contended for the leadership of the Roman state, when Pompey was defeated at the Battle of Pharsalus in 48 BC, he sought refuge in Egypt, where he was assassinated. His career and defeat are significant in Romes subsequent transformation from Republic to Empire, Pompeys family first gained the position of Consul in 141 BC. Pompeys father, Gnaeus Pompeius Strabo, was an equestrian from Picenum. He fought the Social War against Romes Italian allies and he supported Sulla, who belonged to the optimates, the pro-aristocracy faction, against Marius, who belonged to the populares, in Sullas first civil war. He died during the siege of Rome by the Marians in 87 BC, either as a casualty of an epidemic and his twenty-year-old son Pompey inherited his estates, and the loyalty of his legions. Pompey had served two years under his fathers command, and had participated in the part of the Social War. When his father died, Pompey was put on due to accusations that his father stole public property. As his father’s heir Pompey could be held to account and he discovered that this was committed by one of his fathers freedmen. Following his preliminary bouts with his accuser, the took a liking to Pompey and offered his daughter. Another civil war broke out between the Marians and Sulla, Cassius Dio added that Pompey had sent a detachment to pursue him, but he outstripped them by crossing the River Phasis. He reached the Maeotis and stayed in the Cimmerian Bosporus and he had his son Machares, who ruled it and gone over to the Romans, killed and recovered that country. Meanwhile, Pompey set up a colony for his soldiers at Nicopolitans in Cappadocia, in Plutarchs account Pompey was invited to invade Armenia by Tigranes’ son, who rebelled against his father. The two men received the submission of several towns, when they got close Artaxata Tigranes, knowing Pompey’s leniency, surrendered and allowed a Roman garrison in his palace. Pompey offered the restitution of the Armenian territories in Syria, Phoenicia, Cilicia, Galatia and he demanded an indemnity and ruled that the son should be king of Sophene
15.
Carl Jacobsen
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Carl Christian Hillman Jacobsen was a Danish brewer, art collector and philanthropist, the son of J. C. Jacobsen, who founded the brewery Carlsberg and named it after him and she was the daughter of the Danish grain merchant Conrad Stegmann and wife Louise Marie, née Brummer. First Carl worked for his father but partly because of his conflicts between them, he founded his own brewery in 1882, at his fathers death, Carl Jacobsen did not at once obtain the leading post of the old brewery. Instead his father left it to the Carlsberg Foundation which he had founded in 1876, as a sole ruler he carried on his father’s work. Carl Jacobsens interest in the arts is also demonstrated by his brewery and he employed the leading Danish architects of the time, mainly Vilhelm Dahlerup, and the buildings were designed with great care to detail as seen in the Winding Chimney. Often taking part in discussions of architecture of Copenhagen, he paid for the restoration of several churches and public buildings and was also behind the 1913 sculpture of The Little Mermaid
16.
Carlsberg Group
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The Carlsberg Group is a brewing company founded in 1847 by J. C. The companys first headquarters were located in Copenhagen, Denmark, since Jacobsens death in 1887, the majority owner of the company has been the Carlsberg Foundation. The companys flagship brand is Carlsberg Beer but it also brews Tuborg, Kronenbourg, Somersby cider, Russias best-selling beer Baltika, Belgian Grimbergen abbey beers, and more than 500 local beers. After merging with the assets of Norwegian conglomerate Orkla ASA in January 2001. After a failed attempt by Orkla, Carlsberg became the sole owner after purchasing Orklas share in the brewery in 2004. It is the leading beer seller in Russia with about a 40 percent share of the market, in 2009 Carlsberg ranked fourth worldwide, and employed around 45,000 people. Carlsberg was founded by J. C, Jacobsen, a philanthropist and avid art collector. With his fortune he amassed an art collection which is now housed in the Ny Carlsberg Glyptotek in central Copenhagen. The first brew was finished on 10 November 1847, and the export of Carlsberg beer began in 1868 with the export of one barrel to Edinburgh, Jacobsens son Carl opened a brewery in 1882 named Ny Carlsberg forcing him to rename his brewery Gamle Carlsberg. The companies were merged and run under Carls direction in 1906, Jacobsen set up the Carlsberg Laboratory in 1875, which worked on scientific problems related to brewing. It featured a Department of Chemistry and a Department of Physiology, the species of yeast used to make pale lager, Saccharomyces carlsbergensis, was isolated by Emil Christian Hansen at the laboratory in 1883 and bears its name, this was shared freely by Carlsberg. The Carlsberg Laboratory also developed the concept of pH and made advances in protein chemistry, in 1972, the Carlsberg Research Centre was established and the Carlsberg Laboratory is now an independent unit of the Centre. Because of a conflict with his son Carl, Jacobsens brewery was left to the Foundation upon his death in 1887, the first brewery to be built outside Denmark was in Blantyre, Malawi in 1968. Carlsberg merged with Tuborg breweries in 1970 forming the United Breweries AS, Carlsberg became the sole owner of Carlsberg-Tetley in 1997. In 2008 Carlsberg Group, together with Heineken, bought Scottish & Newcastle, in 2013 the company joined leading alcohol producers as part of a producers commitments to reducing harmful drinking. The old brewery in Copenhagen is currently open for tours, famous visitors have included Winston Churchill in 1950, Queen Elizabeth II in 1957, and Yuri Gagarin in 1962. The Carlsberg Group divides their operations into three areas, Northern & Western Europe, Eastern Europe and Asia. Baltic Beverages Holding is currently owned by Carlsberg, previously, it was a joint venture between Carlsberg and Scottish & Newcastle in Russia
17.
Mediterranean Sea
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The sea is sometimes considered a part of the Atlantic Ocean, although it is usually identified as a separate body of water. The name Mediterranean is derived from the Latin mediterraneus, meaning inland or in the middle of land and it covers an approximate area of 2.5 million km2, but its connection to the Atlantic is only 14 km wide. The Strait of Gibraltar is a strait that connects the Atlantic Ocean to the Mediterranean Sea and separates Gibraltar. In oceanography, it is called the Eurafrican Mediterranean Sea or the European Mediterranean Sea to distinguish it from mediterranean seas elsewhere. The Mediterranean Sea has a depth of 1,500 m. The sea is bordered on the north by Europe, the east by Asia and it is located between latitudes 30° and 46° N and longitudes 6° W and 36° E. Its west-east length, from the Strait of Gibraltar to the Gulf of Iskenderun, the seas average north-south length, from Croatia’s southern shore to Libya, is approximately 800 km. The Mediterranean Sea, including the Sea of Marmara, has an area of approximately 2,510,000 square km. The sea was an important route for merchants and travelers of ancient times that allowed for trade, the history of the Mediterranean region is crucial to understanding the origins and development of many modern societies. In addition, the Gaza Strip and the British Overseas Territories of Gibraltar and Akrotiri, the term Mediterranean derives from the Latin word mediterraneus, meaning amid the earth or between land, as it is between the continents of Africa, Asia and Europe. The Ancient Greek name Mesogeios, is similarly from μέσο, between + γη, land, earth) and it can be compared with the Ancient Greek name Mesopotamia, meaning between rivers. The Mediterranean Sea has historically had several names, for example, the Carthaginians called it the Syrian Sea and latter Romans commonly called it Mare Nostrum, and occasionally Mare Internum. Another name was the Sea of the Philistines, from the people inhabiting a large portion of its shores near the Israelites, the sea is also called the Great Sea in the General Prologue by Geoffrey Chaucer. In Ottoman Turkish, it has also been called Bahr-i Sefid, in Modern Hebrew, it has been called HaYam HaTikhon, the Middle Sea, reflecting the Seas name in ancient Greek, Latin, and modern languages in both Europe and the Middle East. Similarly, in Modern Arabic, it is known as al-Baḥr al-Mutawassiṭ, in Turkish, it is known as Akdeniz, the White Sea since among Turks the white colour represents the west. Several ancient civilisations were located around the Mediterranean shores, and were influenced by their proximity to the sea. It provided routes for trade, colonisation, and war, as well as food for numerous communities throughout the ages, due to the shared climate, geology, and access to the sea, cultures centered on the Mediterranean tended to have some extent of intertwined culture and history. Two of the most notable Mediterranean civilisations in classical antiquity were the Greek city states, later, when Augustus founded the Roman Empire, the Romans referred to the Mediterranean as Mare Nostrum
18.
Impressionism
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Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. The Impressionists faced harsh opposition from the art community in France. The development of Impressionism in the arts was soon followed by analogous styles in other media that became known as impressionist music. Radicals in their time, early Impressionists violated the rules of academic painting and they constructed their pictures from freely brushed colours that took precedence over lines and contours, following the example of painters such as Eugène Delacroix and J. M. W. Turner. They also painted scenes of modern life, and often painted outdoors. Previously, still lifes and portraits as well as landscapes were painted in a studio. The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air, the Impressionists, however, developed new techniques specific to the style. The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if the art critics and art establishment disapproved of the new style. In the middle of the 19th century—a time of change, as Emperor Napoleon III rebuilt Paris, the Académie was the preserver of traditional French painting standards of content and style. Historical subjects, religious themes, and portraits were valued, landscape, the Académie preferred carefully finished images that looked realistic when examined closely. Paintings in this style were made up of brush strokes carefully blended to hide the artists hand in the work. Colour was restrained and often toned down further by the application of a golden varnish, the Académie had an annual, juried art show, the Salon de Paris, and artists whose work was displayed in the show won prizes, garnered commissions, and enhanced their prestige. The standards of the juries represented the values of the Académie, represented by the works of artists as Jean-Léon Gérôme. In the early 1860s, four young painters—Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and they discovered that they shared an interest in painting landscape and contemporary life rather than historical or mythological scenes. A favourite meeting place for the artists was the Café Guerbois on Avenue de Clichy in Paris, where the discussions were led by Édouard Manet. They were soon joined by Camille Pissarro, Paul Cézanne, during the 1860s, the Salon jury routinely rejected about half of the works submitted by Monet and his friends in favour of works by artists faithful to the approved style. In 1863, the Salon jury rejected Manets The Luncheon on the Grass primarily because it depicted a woman with two clothed men at a picnic. While the Salon jury routinely accepted nudes in historical and allegorical paintings, the jurys severely worded rejection of Manets painting appalled his admirers, and the unusually large number of rejected works that year perturbed many French artists
19.
Jacques-Louis David
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Jacques-Louis David was a French painter in the Neoclassical style, considered to be the preeminent painter of the era. David later became a supporter of the French Revolution and friend of Maximilien Robespierre. Imprisoned after Robespierres fall from power, he aligned himself with yet another political regime upon his release, at this time he developed his Empire style, notable for its use of warm Venetian colours. After Napoleons fall from Imperial power and the Bourbon revival, David exiled himself to Brussels, then in the United Kingdom of the Netherlands, where he remained until his death. David had a number of pupils, making him the strongest influence in French art of the early 19th century. Jacques-Louis David was born into a family in Paris on 30 August 1748. When he was nine his father was killed in a duel. He covered his notebooks with drawings, and he said, I was always hiding behind the instructors chair. Soon, he desired to be a painter, but his uncles and he overcame the opposition, and went to learn from François Boucher, the leading painter of the time, who was also a distant relative. Boucher was a Rococo painter, but tastes were changing, Boucher decided that instead of taking over Davids tutelage, he would send David to his friend, Joseph-Marie Vien, a painter who embraced the classical reaction to Rococo. There David attended the Royal Academy, based in what is now the Louvre, each year the Academy awarded an outstanding student the prestigious Prix de Rome, which funded a three- to five-year stay in the Eternal City. Each pensionnaire was lodged in the French Academys Roman outpost, which from the years 1737 to 1793 was the Palazzo Mancini in the Via del Corso. David competed for, and failed to win, the prize for three years, each failure contributing to his lifelong grudge against the institution. After his second loss in 1772, David went on a hunger strike, confident he now had the support and backing needed to win the prize, he resumed his studies with great zeal—only to fail to win the Prix de Rome again the following year. Finally, in 1774, David was awarded the Prix de Rome on the strength of his painting of Erasistratus Discovering the Cause of Antiochus Disease, a subject set by the judges. In October 1775 he made the journey to Italy with his mentor, Joseph-Marie Vien, while in Italy, David especially studied the works of 17th-century masters such as Poussin, Caravaggio, and the Carracci. Mengs principled, historicizing approach to the representation of classical subjects profoundly influenced Davids pre-revolutionary painting, such as The Vestal Virgin, mengs also introduced David to the theoretical writings on ancient sculpture by Johann Joachim Winckelmann, the German scholar held to be the founder of modern art history. In 1779, David toured the newly excavated ruins of Pompeii, while in Rome, David also assiduously studied the High Renaissance painters, Raphael making a profound and lasting impression on the young French artist
20.
Claude Monet
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Monets ambition of documenting the French countryside led him to adopt a method of painting the same scene many times in order to capture the changing of light and the passing of the seasons. From 1883 Monet lived in Giverny, where he purchased a house and property, Claude Monet was born on 14 November 1840 on the fifth floor of 45 rue Laffitte, in the 9th arrondissement of Paris. He was the son of Claude Adolphe Monet and Louise Justine Aubrée Monet. On 20 May 1841, he was baptized in the parish church, Notre-Dame-de-Lorette, as Oscar-Claude. Despite being baptized Catholic, Monet later became an atheist, in 1845, his family moved to Le Havre in Normandy. His father wanted him to go into the familys ship-chandling and grocery business and his mother was a singer, and supported Monets desire for a career in art. On 1 April 1851, Monet entered Le Havre secondary school of the arts, locals knew him well for his charcoal caricatures, which he would sell for ten to twenty francs. Monet also undertook his first drawing lessons from Jacques-François Ochard, a student of Jacques-Louis David. On the beaches of Normandy around 1856 he met fellow artist Eugène Boudin, Boudin taught Monet en plein air techniques for painting. Both received the influence of Johan Barthold Jongkind, on 28 January 1857, his mother died. At the age of sixteen, he left school and went to live with his widowed, childless aunt, when Monet traveled to Paris to visit the Louvre, he witnessed painters copying from the old masters. Having brought his paints and other tools with him, he would go and sit by a window. Monet was in Paris for several years and met other painters, including Édouard Manet and others who would become friends. After drawing a low number in March 1861, Monet was drafted into the First Regiment of African Light Cavalry in Algeria for a seven-year period of military service. His prosperous father could have purchased Monets exemption from conscription but declined to do so when his son refused to give up painting. While in Algeria Monet did only a few sketches of scenes, a single landscape. In a Le Temps interview of 1900 however he commented that the light, after about a year of garrison duty in Algiers, Monet contracted typhoid fever and briefly went absent without leave. Following convalescence, Monets aunt intervened to get him out of the army if he agreed to complete a course at an art school and it is possible that the Dutch painter Johan Barthold Jongkind, whom Monet knew, may have prompted his aunt on this matter
21.
Camille Pissarro
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Camille Pissarro was a Danish-French Impressionist and Neo-Impressionist painter born on the island of St Thomas. His importance resides in his contributions to both Impressionism and Post-Impressionism, Pissarro studied from great forerunners, including Gustave Courbet and Jean-Baptiste-Camille Corot. He later studied and worked alongside Georges Seurat and Paul Signac when he took on the Neo-Impressionist style at the age of 54, in 1873 he helped establish a collective society of fifteen aspiring artists, becoming the pivotal figure in holding the group together and encouraging the other members. Cézanne said he was a father for me, a man to consult and a little like the good Lord, and he was also one of Gauguins masters. Renoir referred to his work as revolutionary, through his portrayals of the common man. Pissarro is the only artist to have shown his work at all eight Paris Impressionist exhibitions and he acted as a father figure not only to the Impressionists but to all four of the major Post-Impressionists, including Georges Seurat, Paul Cézanne, Vincent van Gogh and Paul Gauguin. Jacob Abraham Camille Pissarro was born on 10 July 1830 on the island of St. Thomas to Frederick and his father was of Portuguese Jewish descent and held French nationality. His mother was from a French-Jewish family from the island of St. Thomas and his father was a merchant who came to the island from France to deal with the hardware store of a deceased uncle and married his widow. The marriage caused a stir within St. Thomas small Jewish community because she was married to Fredericks uncle. In subsequent years his four children were forced to attend the primary school. Upon his death, his will specified that his estate be split equally between the synagogue and St. Thomas Protestant church, when Camille was twelve his father sent him to boarding school in France. He studied at the Savary Academy in Passy near Paris, while a young student, he developed an early appreciation of the French art masters. Monsieur Savary himself gave him a grounding in drawing and painting and suggested he draw from nature when he returned to St. Thomas. However, his father preferred he work in his business, giving him a job working as a cargo clerk and he took every opportunity during those next five years at the job to practise drawing during breaks and after work. When he turned twenty-one, Danish artist Fritz Melbye, then living on St. Thomas, inspired Pissarro to take on painting as a profession, becoming his teacher. Pissarro then chose to leave his family and job and live in Venezuela and he drew everything he could, including landscapes, village scenes, and numerous sketches, enough to fill up multiple sketchbooks. In 1855 he moved back to Paris where he working as assistant to Anton Melbye. In Paris he worked as assistant to Danish painter Anton Melbye and he also studied paintings by other artists whose style impressed him, Courbet, Charles-François Daubigny, Jean-François Millet, and Corot
22.
Pierre-Auguste Renoir
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Pierre-Auguste Renoir, commonly known as Auguste Renoir, was a French artist who was a leading painter in the development of the Impressionist style. As a celebrator of beauty and especially feminine sensuality, it has said that Renoir is the final representative of a tradition which runs directly from Rubens to Watteau. He was the father of actor Pierre Renoir, filmmaker Jean Renoir and he was the grandfather of the filmmaker Claude Renoir, son of Pierre. Pierre-Auguste Renoir was born in Limoges, Haute-Vienne, France, in 1841 and his father, Léonard Renoir, was a tailor of modest means, so in 1844, Renoirs family moved to Paris in search of more favorable prospects. The location of their home, in rue d’Argenteuil in central Paris, although the young Renoir had a natural proclivity for drawing, he exhibited a greater talent for singing. His talent was encouraged by his teacher, Charles Gounod, who was the choir-master at the Church of St Roch at the time. However, due to the financial circumstances, Renoir had to discontinue his music lessons. Although Renoir displayed a talent for his work, he tired of the subject matter. The owner of the factory recognized his apprentice’s talent and communicated this to Renoir’s family, following this, Renoir started taking lessons to prepare for entry into Ecole des Beaux Arts. When the porcelain factory adopted mechanical reproduction processes in 1858, Renoir was forced to other means to support his learning. Before he enrolled in art school, he also painted hangings for overseas missionaries, in 1862, he began studying art under Charles Gleyre in Paris. There he met Alfred Sisley, Frédéric Bazille, and Claude Monet, at times, during the 1860s, he did not have enough money to buy paint. Renoir had his first success at the Salon of 1868 with his painting Lise with a Parasol, although Renoir first started exhibiting paintings at the Paris Salon in 1864, recognition was slow in coming, partly as a result of the turmoil of the Franco-Prussian War. This loss of a favorite painting location resulted in a change of subjects. Renoir was inspired by the style and subject matter of modern painters Camille Pissarro. Although the critical response to the exhibition was largely unfavorable, Renoirs work was well received. That same year, two of his works were shown with Durand-Ruel in London, hoping to secure a livelihood by attracting portrait commissions, Renoir displayed mostly portraits at the second Impressionist exhibition in 1876. He contributed a diverse range of paintings the next year when the group presented its third exhibition, they included Dance at Le Moulin de la Galette
23.
Edgar Degas
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Edgar Degas was a French artist famous for his paintings, sculptures, prints, and drawings. He is especially identified with the subject of dance, more than half of his works depict dancers and he is regarded as one of the founders of Impressionism, although he rejected the term, preferring to be called a realist. He was a draftsman, and particularly masterly in depicting movement, as can be seen in his rendition of dancers, racecourse subjects. His portraits are notable for their complexity and for their portrayal of human isolation. At the beginning of his career, Degas wanted to be a history painter, in his early thirties, he changed course, and by bringing the traditional methods of a history painter to bear on contemporary subject matter, he became a classical painter of modern life. Degas was born in Paris, France, into a wealthy family. He was the oldest of five children of Célestine Musson De Gas, a Creole from New Orleans, Louisiana, and Augustin De Gas and his maternal grandfather Germain Musson, was born in Port-au-Prince, Haiti of French descent and had settled in New Orleans in 1810. Degas began his schooling at age eleven, enrolling in the Lycée Louis-le-Grand and his mother died when he was thirteen, and his father and grandfather became the main influences on him for the remainder of his youth. Degas began to paint early in life, by the time he graduated from the Lycée with a baccalauréat in literature in 1853, at age 18, he had turned a room in his home into an artists studio. Upon graduating, he registered as a copyist in The Louvre Museum, Degas duly enrolled at the Faculty of Law of the University of Paris in November 1853, but applied little effort to his studies. In April of that year Degas was admitted to the École des Beaux-Arts and he studied drawing there with Louis Lamothe, under whose guidance he flourished, following the style of Ingres. In July 1856, Degas traveled to Italy, where he would remain for the three years. In 1858, while staying with his aunts family in Naples and he also began work on several history paintings, Alexander and Bucephalus and The Daughter of Jephthah in 1859–60, Sémiramis Building Babylon in 1860, and Young Spartans around 1860. In 1861 Degas visited his childhood friend Paul Valpinçon in Normandy and he exhibited at the Salon for the first time in 1865, when the jury accepted his painting Scene of War in the Middle Ages, which attracted little attention. The change in his art was influenced primarily by the example of Édouard Manet, upon the outbreak of the Franco-Prussian War in 1870, Degas enlisted in the National Guard, where his defense of Paris left him little time for painting. During rifle training his eyesight was found to be defective, after the war, Degas began in 1872 an extended stay in New Orleans, Louisiana, where his brother René and a number of other relatives lived. Staying at the home of his Creole uncle, Michel Musson, on Esplanade Avenue, Degas produced a number of works, many depicting family members. One of Degass New Orleans works, A Cotton Office in New Orleans, garnered favorable attention back in France, Degas returned to Paris in 1873 and his father died the following year, whereupon Degas learned that his brother René had amassed enormous business debts
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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
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