1.
Bordeaux
–
Bordeaux is a port city on the Garonne River in the Gironde department in southwestern France. The municipality of Bordeaux proper has a population of 243,626, together with its suburbs and satellite towns, Bordeaux is the centre of the Bordeaux Métropole. With 749,595 inhabitants and 1,178,335 in the area, it is the fifth largest in France, after Paris, Lyon, Marseille and Lille. It is the capital of the Nouvelle-Aquitaine region, as well as the prefecture of the Gironde department and its inhabitants are called Bordelais or Bordelaises. The term Bordelais may also refer to the city and its surrounding region, Bordeaux is the worlds major wine industry capital. It is home to the main wine fair, Vinexpo. Bordeaux wine has been produced in the region since the 8th century, the historic part of the city is on the UNESCO World Heritage List as an outstanding urban and architectural ensemble of the 18th century. After Paris, Bordeaux has the highest number of preserved buildings of any city in France. In historical times, around 300 BC it was the settlement of a Celtic tribe, the Bituriges Vivisci, the name Bourde is still the name of a river south of the city. In 107 BC, the Battle of Burdigala was fought by the Romans who were defending the Allobroges, a Gallic tribe allied to Rome, the Romans were defeated and their commander, the consul Lucius Cassius Longinus, was killed in the action. The city fell under Roman rule around 60 BC, its importance lying in the commerce of tin, later it became capital of Roman Aquitaine, flourishing especially during the Severan dynasty. In 276 it was sacked by the Vandals, further ravage was brought by the same Vandals in 409, the Visigoths in 414 and the Franks in 498, beginning a period of obscurity for the city. In the late 6th century, the city re-emerged as the seat of a county and an archdiocese within the Merovingian kingdom of the Franks, the city started to play a regional role as a major urban center on the fringes of the newly founded Frankish Duchy of Vasconia. Around 585, a certain Gallactorius is cited as count of Bordeaux, the city was plundered by the troops of Abd er Rahman in 732 after storming the fortified city and overwhelming the Aquitanian garrison. After Duke Eudess defeat, the Aquitanian duke could still save part of its troops, the following year, the Frankish commander descended again over Aquitaine, but clashed in battle with the Aquitanians and left to take on hostile Burgundian authorities and magnates. In 745, Aquitaine faced yet another expedition by Charles sons Pepin and Carloman against Hunald, Hunald was defeated, and his son Waifer replaced him, who in turn confirmed Bordeaux as the capital city. During the last stage of the war against Aquitaine, it was one of Waifers last important strongholds to fall to King Pepin the Shorts troops. Next to Bordeaux, Charlemagne built the fortress of Fronsac on a hill across the border with the Basques, in 778, Seguin was appointed count of Bordeaux, probably undermining the power of the Duke Lupo, and possibly leading to the Battle of Roncevaux Pass that very year
Bordeaux
–
Clockwise from top:
Place de la Bourse by the
Garonne, Allees du Tourny and Maison de Vin,
Pierre Bridge on the Garonne, Meriadeck Commercial Centre, front of Palais Rohan Hotel, and
Saint-Andre Cathedral with
Bordeaux Tramway
Bordeaux
Bordeaux
–
Coins of the
Bituriges Vivisci, 5th–1st century BC, derived from the coin designs of
Greeks in pre-Roman Gaul.
Cabinet des Médailles.
Bordeaux
–
Merovingian tremisses minted in Bordeaux by the Church of Saint-Étienne, late 6th century.
British Museum.
2.
Paris
–
Paris is the capital and most populous city of France. It has an area of 105 square kilometres and a population of 2,229,621 in 2013 within its administrative limits, the agglomeration has grown well beyond the citys administrative limits. By the 17th century, Paris was one of Europes major centres of finance, commerce, fashion, science, and the arts, and it retains that position still today. The aire urbaine de Paris, a measure of area, spans most of the Île-de-France region and has a population of 12,405,426. It is therefore the second largest metropolitan area in the European Union after London, the Metropole of Grand Paris was created in 2016, combining the commune and its nearest suburbs into a single area for economic and environmental co-operation. Grand Paris covers 814 square kilometres and has a population of 7 million persons, the Paris Region had a GDP of €624 billion in 2012, accounting for 30.0 percent of the GDP of France and ranking it as one of the wealthiest regions in Europe. The city is also a rail, highway, and air-transport hub served by two international airports, Paris-Charles de Gaulle and Paris-Orly. Opened in 1900, the subway system, the Paris Métro. It is the second busiest metro system in Europe after Moscow Metro, notably, Paris Gare du Nord is the busiest railway station in the world outside of Japan, with 262 millions passengers in 2015. In 2015, Paris received 22.2 million visitors, making it one of the top tourist destinations. The association football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris, the 80, 000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros, Paris hosted the 1900 and 1924 Summer Olympics and is bidding to host the 2024 Summer Olympics. The name Paris is derived from its inhabitants, the Celtic Parisii tribe. Thus, though written the same, the name is not related to the Paris of Greek mythology. In the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps, since the late 19th century, Paris has also been known as Panam in French slang. Inhabitants are known in English as Parisians and in French as Parisiens and they are also pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the areas major north-south trade routes crossed the Seine on the île de la Cité, this place of land and water trade routes gradually became a town
Paris
–
In the 1860s Paris streets and monuments were illuminated by 56,000 gas lamps, making it literally "The City of Light."
Paris
Paris
–
Gold coins minted by the Parisii (1st century BC)
Paris
–
The
Palais de la Cité and
Sainte-Chapelle, viewed from the Left Bank, from the
Très Riches Heures du duc de Berry (month of June) (1410)
3.
Painting
–
Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
Painting
–
The
Mona Lisa, by
Leonardo da Vinci, is one of the most recognizable paintings in the world.
Painting
–
Chen Hongshou (1598–1652), Leaf album painting (
Ming Dynasty)
Painting
–
Circus Sideshow (
French: Parade de cirque),
Georges Seurat, 1887–88
Painting
–
Cave painting of aurochs, (
French: Bos primigenius primigenius),
Lascaux,
France,
prehistoric art
4.
Printmaking
–
Printmaking is the process of making artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints that have an element of originality, except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each print produced is not considered a copy but rather is considered an original, a print may be known as an impression. Printmaking is not chosen only for its ability to multiple impressions. Prints are created by transferring ink from a matrix or through a screen to a sheet of paper or other material. Screens made of silk or synthetic fabrics are used for the screenprinting process, other types of matrix substrates and related processes are discussed below. Multiple impressions printed from the matrix form an edition. Prints may also be printed in book form, such as illustrated books or artists books, Printmaking techniques are generally divided into the following basic categories, Relief, where ink is applied to the original surface of the matrix. Relief techniques include woodcut or woodblock as the Asian forms are known, wood engraving. Intaglio, where ink is applied beneath the surface of the matrix. Intaglio techniques include engraving, etching, mezzotint, aquatint, planographic, where the matrix retains its original surface, but is specially prepared and/or inked to allow for the transfer of the image. Planographic techniques include lithography, monotyping, and digital techniques, stencil, where ink or paint is pressed through a prepared screen, including screenprinting and pochoir. Other types of printmaking techniques outside these groups include collagraphy and viscosity printing, collagraphy is a printmaking technique in which textured material is adhered to the printing matrix. This texture is transferred to the paper during the printing process, Contemporary printmaking may include digital printing, photographic mediums, or a combination of digital, photographic, and traditional processes. Many of these techniques can also be combined, especially within the same family, for example, Rembrandts prints are usually referred to as etchings for convenience, but very often include work in engraving and drypoint as well, and sometimes have no etching at all. Woodcut, a type of print, is the earliest printmaking technique. It was probably first developed as a means of printing patterns on cloth, woodcuts of images on paper developed around 1400 in Japan, and slightly later in Europe. These are the two areas where woodcut has been most extensively used purely as a process for making images without text, the artist draws a design on a plank of wood, or on paper which is transferred to the wood
Printmaking
–
Rembrandt,
Self-portrait,
etching, c.1630.
Printmaking
–
Mount Fuji, from the
Thirty-six Views of Mount Fuji, color
woodcut by
Katsushika Hokusai
Printmaking
–
Francisco Goya, There is No One To Help Them,
Disasters of War series,
aquatint c.1810.
Printmaking
–
External video
5.
Drawing
–
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. A drawing instrument releases small amount of material onto a surface, the most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything, the medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas, the wide availability of drawing instruments makes drawing one of the most common artistic activities. In addition to its artistic forms, drawing is frequently used in commercial illustration, animation, architecture, engineering. A quick, freehand drawing, usually not intended as a work, is sometimes called a sketch. An artist who practices or works in technical drawing may be called a drafter, Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper/other material, traditional drawings were monochrome, or at least had little colour, while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks, dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a medium, applied with brushes or pens. Drawing is often exploratory, with emphasis on observation, problem-solving. Drawing is also used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies, there are several categories of drawing, including figure drawing, cartooning, doodling, free hand and shading. There are also many drawing methods, such as drawing, stippling, shading, the surrealist method of entopic graphomania. A quick, unrefined drawing may be called a sketch, in fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called drawings even when they have been transferred to another medium by printing. Drawing as a Form of Communication Drawing is one of the oldest forms of human expression and these drawings, known as pictograms, depicted objects and abstract concepts. The sketches and paintings produced in prehistoric times were eventually stylised and simplified, Drawing in the Arts Drawing is used to express ones creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise, initially, artists used and reused wooden tablets for the production of their drawings
Drawing
–
Pen and wash lion by
Rembrandt in the
Louvre
Drawing
–
A person drawing the
Barberini Faun in Munich
Drawing
–
Madame Palmyre with Her Dog, 1897.
Henri de Toulouse-Lautrec
Drawing
–
André Masson. Automatic Drawing. 1924. Ink on paper, 23.5 x 20.6 cm.
Museum of Modern Art, New York
6.
Post-impressionism
–
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
Post-impressionism
–
Henri Rousseau, The Centenary of Independence, 1892,
Getty Center, Los Angeles
Post-impressionism
Post-impressionism
–
Poster of the 1889 Exhibition of Paintings by the
Impressionist and
Synthetist Group, at Café des Arts, known as the
The Volpini Exhibition, 1889
Post-impressionism
–
Henri de Toulouse-Lautrec, Portrait of
Émile Bernard, 1886,
Tate Gallery London
7.
Symbolism (arts)
–
Symbolism was a late nineteenth-century art movement of French, Russian and Belgian origin in poetry and other arts. In literature, the style originates with the 1857 publication of Charles Baudelaires Les Fleurs du mal, the works of Edgar Allan Poe, which Baudelaire admired greatly and translated into French, were a significant influence and the source of many stock tropes and images. The aesthetic was developed by Stéphane Mallarmé and Paul Verlaine during the 1860s and 1870s, in the 1880s, the aesthetic was articulated by a series of manifestos and attracted a generation of writers. The name symbolist itself was first applied by the critic Jean Moréas, distinct from, but related to, the style of literature, symbolism in art is related to the gothic component of Romanticism and Impressionism. In ancient Greece, the symbolon was a shard of pottery which was inscribed, Symbolism was a reaction in favour of spirituality, the imagination, and dreams. Some writers, such as Joris-Karl Huysmans, began as naturalists before becoming symbolists, for Huysmans, the Symbolist poets have a more complex relationship with Parnassianism, a French literary style that immediately preceded it. The Symbolists continued to admire Théophile Gautiers motto of art for arts sake, many Symbolist poets, including Stéphane Mallarmé and Paul Verlaine, published early works in Le Parnasse contemporain, the poetry anthologies that gave Parnassianism its name. One of Symbolisms most colourful promoters in Paris was art and literary critic Joséphin Péladan, a number of Symbolists were associated with the Salon. Symbolists believed that art should represent absolute truths that could only be described indirectly, thus, they wrote in a very metaphorical and suggestive manner, endowing particular images or objects with symbolic meaning. Jean Moréas published the Symbolist Manifesto in Le Figaro on 18 September 1886, the Symbolist Manifesto names Charles Baudelaire, Stéphane Mallarmé, and Paul Verlaine as the three leading poets of the movement. In a nutshell, as Mallarmé writes in a letter to his friend Cazalis, to not the thing. Symbolist poems were attempts to evoke, rather than primarily to describe, – both poets seek to identify one sense experience with another. The earlier Romanticism of poetry used symbols, but these symbols were unique, the symbolists were more extreme, investing all things, even vowels and perfumes, with potential symbolic value. The physical universe, then, is a kind of language that invites a privileged spectator to decipher it, Symbolist symbols are not allegories, intended to represent, they are instead intended to evoke particular states of mind. The nominal subject of Mallarmés Le cygne is of a trapped in a frozen lake. Significantly, in French, cygne is a homophone of signe, un cygne d’autrefois se souvient que c’est lui Magnifique mais qui sans espoir se délivre. They were also portrayed as at odds with society, having tragic lives and these traits were not hindrances but consequences of their literary gifts. Schopenhauers aesthetics represented shared concerns with the symbolist programme, they tended to consider Art as a contemplative refuge from the world of strife and will
Symbolism (arts)
–
Pierre Puvis de Chavannes, Jeunes Filles au Bord de la Mer (Young Girls on the Edge of the Sea), 1879,
Musée d'Orsay, Paris
Symbolism (arts)
–
Victor Vasnetsov, The Knight at the Crossroads, 1878
Symbolism (arts)
–
John William Waterhouse, Cecilia, 1895
Symbolism (arts)
–
Henri Fantin-Latour, By the Table, depicting: seated:
Paul Verlaine,
Arthur Rimbaud, Léon Valade, Ernest d'Hervilly and
Camille Pelletan; standing: Pierre Elzéar, Emile Blémont and
Jean Aicard.
8.
Printmaker
–
Printmaking is the process of making artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints that have an element of originality, except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each print produced is not considered a copy but rather is considered an original, a print may be known as an impression. Printmaking is not chosen only for its ability to multiple impressions. Prints are created by transferring ink from a matrix or through a screen to a sheet of paper or other material. Screens made of silk or synthetic fabrics are used for the screenprinting process, other types of matrix substrates and related processes are discussed below. Multiple impressions printed from the matrix form an edition. Prints may also be printed in book form, such as illustrated books or artists books, Printmaking techniques are generally divided into the following basic categories, Relief, where ink is applied to the original surface of the matrix. Relief techniques include woodcut or woodblock as the Asian forms are known, wood engraving. Intaglio, where ink is applied beneath the surface of the matrix. Intaglio techniques include engraving, etching, mezzotint, aquatint, planographic, where the matrix retains its original surface, but is specially prepared and/or inked to allow for the transfer of the image. Planographic techniques include lithography, monotyping, and digital techniques, stencil, where ink or paint is pressed through a prepared screen, including screenprinting and pochoir. Other types of printmaking techniques outside these groups include collagraphy and viscosity printing, collagraphy is a printmaking technique in which textured material is adhered to the printing matrix. This texture is transferred to the paper during the printing process, Contemporary printmaking may include digital printing, photographic mediums, or a combination of digital, photographic, and traditional processes. Many of these techniques can also be combined, especially within the same family, for example, Rembrandts prints are usually referred to as etchings for convenience, but very often include work in engraving and drypoint as well, and sometimes have no etching at all. Woodcut, a type of print, is the earliest printmaking technique. It was probably first developed as a means of printing patterns on cloth, woodcuts of images on paper developed around 1400 in Japan, and slightly later in Europe. These are the two areas where woodcut has been most extensively used purely as a process for making images without text, the artist draws a design on a plank of wood, or on paper which is transferred to the wood
Printmaker
–
Rembrandt,
Self-portrait,
etching, c.1630.
Printmaker
–
Mount Fuji, from the
Thirty-six Views of Mount Fuji, color
woodcut by
Katsushika Hokusai
Printmaker
–
Francisco Goya, There is No One To Help Them,
Disasters of War series,
aquatint c.1810.
Printmaker
–
External video
9.
Pastel
–
A pastel is an art medium in the form of a stick, consisting of pure powdered pigment and a binder. The pigments used in pastels are the same as used to produce all colored art media, including oil paints. The color effect of pastels is closer to the natural dry pigments than that of any other process, Pastels have been used by artists since the Renaissance, and gained considerable popularity in the 18th century, when a number of notable artists made pastel their primary medium. An artwork made using pastels is called a pastel, Pastel used as a verb means to produce an artwork with pastels, as an adjective it means pale in color. Pastel sticks or crayons consist of powdered pigment combined with a binder. The exact composition and characteristics of an individual pastel stick depends on the type of pastel and it also varies by individual manufacturer. Dry pastels have historically used binders such as gum arabic and gum tragacanth, methyl cellulose was introduced as a binder in the twentieth century. Often a chalk or gypsum component is present and they are available in varying degrees of hardness, the softer varieties being wrapped in paper. Some pastel brands use pumice in the binder to abrade the paper, dry pastel media can be subdivided as follows, Soft pastels, This is the most widely used form of pastel. The sticks have a portion of pigment and less binder. The drawing can be readily smudged and blended, but it results in a proportion of dust. White chalk may be used as a filler in producing pale, Pan Pastels, These are formulated with a minimum of binder in flat compacts and applied with special Soft micropore sponge tools. A 21st-century invention, Pan Pastels can be used for the painting or in combination with soft. Hard pastels, These have a portion of binder and less pigment. These can be used with other pastels for drawing outlines and adding accents, hard pastels are traditionally used to create the preliminary sketching out of a composition. However, the colors are brilliant and are available in a restricted range in contrast to soft pastels. Pastel pencils, These are pencils with a pastel lead and they are useful for adding fine details. In addition, pastels using a different approach to manufacture have been developed, Oil pastels, These have a soft, buttery consistency and they are dense and fill the grain of paper and are slightly more difficult to blend than soft pastels, but do not require a fixative
Pastel
–
Commercial pastels
Pastel
–
A young woman with pastel box and painting
Pastel
–
Georg Anton Urlaub (1713–1759) holding a box of pastels in his hands. Selfportrait, 1735
Pastel
–
Ants Laikmaa Taebla landscape from 1936.
10.
Aquitaine
–
Aquitaine, archaic Guyenne/Guienne was a traditional region of France, and was an administrative region of France until 1 January 2016. It is now part of the new region Nouvelle-Aquitaine and it is situated in the south-western part of Metropolitan France, along the Atlantic Ocean and the Pyrenees mountain range on the border with Spain. It is composed of the five departments of Dordogne, Lot-et-Garonne, Pyrénées-Atlantiques, Landes, in the Middle Ages, Aquitaine was a kingdom and a duchy, whose boundaries fluctuated considerably. This has been demonstrated by various Aquitanian names and words that were recorded by the Romans, whether this Aquitanian language was a remnant of a Vasconic language group that once extended much farther, or whether it was generally limited to the Aquitaine/Basque region is not known. The original Aquitania at the time of Caesars conquest of Gaul included the area bounded by the Garonne River, the Pyrenees, the name may stem from Latin aqua, maybe derived from the town Aquae Augustae, Aquae Tarbellicae or just Aquis or as a more general geographical feature. In 392, the Roman imperial provinces were restructured and Aquitania Prima, Aquitania Secunda, accounts of Aquitania during the Early Middle Ages are a blur, lacking precision, but there was much unrest. The Visigoths were called into Gaul as foederati, legalizing their status within the Empire, eventually they established themselves as the de facto rulers in south-west Gaul as central Roman rule collapsed. Visigoths established their capital in Toulouse, but their tenure on Aquitaine was feeble, in 507, they were expelled south to Hispania after their defeat in the Battle of Vouillé by the Franks, who became the new rulers in the area to the south of the Loire. The Roman Aquitania Tertia remained in place as Novempopulania, where a duke was appointed to hold a grip over the Basques and these dukes were quite detached from central Frankish overlordship, sometimes governing as independent rulers with strong ties to their kinsmen south of the Pyrenees. As of 660, the foundations for an independent Aquitaine/Vasconia polity were established by the duke Felix of Aquitaine, a united Basque-Aquitanian realm reached its heyday under Odo the Greats rule. Odo was required to pledge allegiance to the Frankish Charles Martel in exchange for help against the advancing Arabic forces, Basque-Aquitanian self-rule temporarily came to a halt, definitely in 768 after the assassination of Waifer. Seguin, count of Bordeaux and Duke of Vasconia, seemed to have attempted a detachment from the Frankish central authority on Charlemagnes death, the new emperor Louis the Pious reacted by removing him from his capacity, which stirred the Basques into rebellion. Before Pepins death, emperor Louis had appointed a new king in 832, his son Charles the Bald, however scarce, some Frankish population and nobles settled down in regions like Albigeois, Carcassone, Toulouse, and Provence and Lower Rhone. After the death of the king Dagobert I, the Merovingian tenure south of the Loire became largely nominal, with the power being in the hands of autonomous regional leaders. The Franks may have largely assimilated to the preponderant Gallo-Roman culture by the 8th century. Still, in the Battle of Toulouse, the Aquitanian duke Odo is said to be leading an army of Aquitanians, on the other hand, the Franks didnt mix with the Basques, keeping separate paths. Recorded evidence points to their deployment across Aquitaine in a capacity as a mainstay of the Dukes forces. Romans are cited as living in the cities of Aquitaine, as opposed to the Franks, in 1058, the Duchy of Vasconia and Aquitaine merged under the rule of William VIII, Duke of Aquitaine
Aquitaine
–
Landscape in Dordogne, Aquitaine
Aquitaine
–
Flag
Aquitaine
–
Situation in the duchies of Vasconia and Aquitaine (760)
Aquitaine
–
Landscape in Pyrénées-Atlantiques, Aquitaine
11.
Gaston Redon
–
Gaston Redon was a French architect, teacher, and graphic artist. Redon was born in Bordeaux, Aquitaine to a prosperous family, gaston attended the École des Beaux-Arts in the atelier of Louis-Jules André, and took the Prix de Rome for architecture in 1883. This entitled him to three years at the Villa Medici from 1884 to 1887, where he met and became friends with the composer Claude Debussy, after his return to Paris, Redon was made the official architect of the Louvre. The rebuilding and expansion of the Pavilion de Marsan between 1900 and 1905 to accommodate the Museum of Decorative Arts amounts to his major built work. Redon was elected to the Académie des Beaux-Arts in May 1914 and his students included French architects Henri Marchal, Roger-Henri Expert, and Louis-Hippolyte Boileau among others. His work includes, the tomb of César Franck, Montparnasse Cemetery,1894 the casino at Royan,1895 Museum of Decorative Arts, Pavillon de Marsan, Louvre, 1900–1905 online biography
Gaston Redon
–
The Casino at
Royan, 1895 (destroyed in 1945)
Gaston Redon
–
interior,
Museum of Decorative Arts, Louvre, 1905
12.
Rodolphe Bresdin
–
Rodolphe Bresdin was a French draughtsman and engraver, born in Le Fresne-sur-Loire on 12 August 1822, who died in Sèvres on 11 January 1885. His fantastic works, full of details, particularly attracted Charles Baudelaire, Théophile Gautier, Joris-Karl Huysmans, Robert de Montesquiou. Bresdin influenced contemporary artists like Jacques Moreau, George Rubel, Jean-Pierre Velly, Bresdins life story and his art are both extraordinary and fascinating. He was one of the finest and most original exponents of the art of print-making in the century and his name ranks alongside those of Whistler, Doré and Meryon in achievement. You would have thought it the work of an early Italian master or a half-developed Albert Dürer, Huysmans description, although brilliantly conveying the mystique of Bresdins work, does not fully do justice to the profundity of it. He only refers to two works, whereas Bresdin produced one hundred and forty etchings, twenty lithographs and a number of pen and his portrayals of the household interiors of the rural poor show uncanny empathy with their inhabitants and rapport with the imaginative hinterland of their psyches. His series of the Holy Familys flight to Egypt was highly praised by Redon, who thought it Bresdins best work, and by de Montesquiou. His depictions of nature, showing its seductive charm alongside its underlying menace are unique, Bresdins life story is as dramatic and iconic as those of Van Gogh and Gauguin. Joris-Karl Huysmans, A Rebours 1884, translated as Against the Grain, Dover publications 1969, and Against Nature, Penguin Classics,1959
Rodolphe Bresdin
–
Le Bon Samaritain, 1861, by Rodolphe Bresdin
13.
Etching
–
Etching is traditionally the process of using strong acid or mordant to cut into the unprotected parts of a metal surface to create a design in intaglio in the metal. In modern manufacturing, other chemicals may be used on other types of material, as a method of printmaking, it is, along with engraving, the most important technique for old master prints, and remains in wide use today. In a number of variants such as microfabrication etching and photochemical milling it is a crucial technique in much modern technology. In traditional pure etching, a plate is covered with a waxy ground which is resistant to acid. The artist then scratches off the ground with an etching needle where he or she wants a line to appear in the finished piece. The échoppe, a tool with an oval section, is also used for swelling lines. The plate is dipped in a bath of acid, technically called the mordant or etchant. The acid bites into the metal where it is exposed, leaving behind lines sunk into the plate, the remaining ground is then cleaned off the plate. The plate is inked all over, and then the ink wiped off the surface, the plate is then put through a high-pressure printing press together with a sheet of paper. The paper picks up the ink from the lines, making a print. The process can be repeated many times, typically several hundred impressions could be printed before the shows much sign of wear. The work on the plate can also be added to by repeating the whole process, Etching has often been combined with other intaglio techniques such as engraving or aquatint. The process as applied to printmaking is believed to have been invented by Daniel Hopfer of Augsburg, Hopfer was a craftsman who decorated armour in this way, and applied the method to printmaking, using iron plates. Apart from his prints, there are two examples of his work on armour, a shield from 1536 now in the Real Armeria of Madrid. The switch to copper plates was made in Italy. On the other hand, the handling of the ground and acid need skill and experience, prior to 1100 AD, the New World Hohokam independently utilized the technique of acid etching in marine shell designs. Jacques Callot from Nancy in Lorraine made important technical advances in etching technique and he developed the échoppe, a type of etching-needle with a slanting oval section at the end, which enabled etchers to create a swelling line, as engravers were able to do. Callot also appears to have responsible for an improved, harder, recipe for the etching ground
Etching
–
The Soldier and his Wife. Etching by
Daniel Hopfer, who is believed to have been the first to apply the technique to printmaking
Etching
–
Portrait of
Luca Giordano, 18th century
Etching
–
Rembrandt,
The Virgin and Child with a Cat, 1654. Original copper etching plate above, example of the print below, with composition reversed.
Etching
–
Christ Preaching, known as The
Hundred Guilder Print; etching c1648 by
Rembrandt.
14.
Lithography
–
Lithography is a method of printing originally based on the immiscibility of oil and water. The printing is from a stone or a plate with a smooth surface. It was invented in 1796 by German author and actor Alois Senefelder as a method of publishing theatrical works. Lithography can be used to print text or artwork onto paper or other suitable material, Lithography originally used an image drawn with oil, fat, or wax onto the surface of a smooth, level lithographic limestone plate. The stone was treated with a mixture of acid and gum arabic, when the stone was subsequently moistened, these etched areas retained water, an oil-based ink could then be applied and would be repelled by the water, sticking only to the original drawing. The ink would finally be transferred to a paper sheet. This traditional technique is used in some fine art printmaking applications. In modern lithography, the image is made of a coating applied to a flexible aluminum plate. The image can be printed directly from the plate, or it can be offset, by transferring the image onto a sheet for printing. In fact, photolithography is used synonymously with offset printing, the technique as well as the term were introduced in Europe in the 1850s. Beginning in the 1960s, photolithography has played an important role in the fabrication, Lithography uses simple chemical processes to create an image. For instance, the part of an image is a water-repelling substance. Thus, when the plate is introduced to a printing ink and water mixture, the ink will adhere to the positive image. This allows a flat print plate to be used, enabling much longer, Lithography was invented by Alois Senefelder in the Kingdom of Bavaria in 1796. In the early days of lithography, a piece of limestone was used. After the oil-based image was put on the surface, a solution of gum arabic in water was applied, during printing, water adhered to the gum arabic surfaces and was repelled by the oily parts, while the oily ink used for printing did the opposite. Lithography works because of the repulsion of oil and water. The image is drawn on the surface of the print plate with a fat or oil-based medium such as a wax crayon, which may be pigmented to make the drawing visible
Lithography
–
Charles Marion Russell 's The Custer Fight (1903), with the range of tones fading toward the edges
Lithography
–
Lithography stone and
mirror image print of a map of Munich
Lithography
–
A 1902 lithograph map (original size 33×24 cm)
15.
Franco-Prussian War
–
The conflict was caused by Prussian ambitions to extend German unification and French fears of the shift in the European balance of power that would result if the Prussians succeeded. On 16 July 1870, the French parliament voted to declare war on the German Kingdom of Prussia, the German coalition mobilised its troops much more quickly than the French and rapidly invaded northeastern France. The German forces were superior in numbers, had training and leadership and made more effective use of modern technology, particularly railroads. The German states proclaimed their union as the German Empire under the Prussian king Wilhelm I, the Treaty of Frankfurt of 10 May 1871 gave Germany most of Alsace and some parts of Lorraine, which became the Imperial territory of Alsace-Lorraine. French determination to regain Alsace-Lorraine and fear of another Franco-German war, along with British apprehension about the balance of power, the causes of the Franco-Prussian War are deeply rooted in the events surrounding the unification of Germany. In the aftermath of the Austro-Prussian War of 1866, Prussia had annexed numerous territories and this new power destabilized the European balance of power established by the Congress of Vienna in 1815 after the Napoleonic Wars. France was strongly opposed to any further alliance of German states, in Prussia, some officials considered a war against France both inevitable and necessary to arouse German nationalism in those states that would allow the unification of a great German empire. Bismarck also knew that France should be the aggressor in the conflict to bring the southern German states to side with Prussia, many Germans also viewed the French as the traditional destabilizer of Europe, and sought to weaken France to prevent further breaches of the peace. The immediate cause of the war resided in the candidacy of Leopold of Hohenzollern-Sigmaringen, France feared encirclement by an alliance between Prussia and Spain. The Hohenzollern princes candidacy was withdrawn under French diplomatic pressure, releasing the Ems Dispatch to the public, Bismarck made it sound as if the king had treated the French envoy in a demeaning fashion, which inflamed public opinion in France. They also argue that he wanted a war to resolve growing domestic political problems, other historians, notably French historian Pierre Milza, dispute this. According to Milza, the Emperor had no need for a war to increase his popularity, the Ems telegram had exactly the effect on French public opinion that Bismarck had intended. This text produced the effect of a red flag on the Gallic bull, gramont, the French foreign minister, declared that he felt he had just received a slap. Napoleons new prime minister, Emile Ollivier, declared that France had done all that it could humanly and honorably do to prevent the war, a crowd of 15–20,000 people, carrying flags and patriotic banners, marched through the streets of Paris, demanding war. On 19 July 1870 a declaration of war was sent to the Prussian government, the southern German states immediately sided with Prussia. The French Army consisted in peacetime of approximately 400,000 soldiers, some of them were veterans of previous French campaigns in the Crimean War, Algeria, the Franco-Austrian War in Italy, and in the Mexican campaign. Under Marshal Adolphe Niel, urgent reforms were made, universal conscription and a shorter period of service gave increased numbers of reservists, who would swell the army to a planned strength of 800,000 on mobilisation. Those who for any reason were not conscripted were to be enrolled in the Garde Mobile, however, the Franco-Prussian War broke out before these reforms could be completely implemented
Franco-Prussian War
–
Clockwise from top left: Prussian infantry at the
Battle of Spicheren;
Jeanniot 's 1886 La ligne de feu (
Battle of Mars-La-Tour);
Werner 's depiction of the
capitulation of Sedan;
Neuville 's 1873 Les dernières cartouches (
Battle of Bazeilles).
Franco-Prussian War
–
A French
mitrailleuse in the
Bundeswehr Military History Museum
Franco-Prussian War
–
French reservists responding to the call.
Franco-Prussian War
–
Map of German and French armies near their common border on 31 July 1870
16.
Joris-Karl Huysmans
–
Charles-Marie-Georges Huysmans was a French novelist who published his works as J. K. He is most famous for the novel À rebours and he supported himself by a 30-year career in the French civil service. Huysmans work is considered remarkable for its use of the French language, large vocabulary, descriptions, satirical wit. First considered part of Naturalism, he associated with the decadent movement with his publication of À rebours. His work expressed his pessimism, which had led him to the philosophy of Arthur Schopenhauer. In later years, his novels reflected his study of Catholicism, religious conversion and he discussed the iconography of Christian architecture at length in La cathédrale, set at Chartres and with its cathedral as the focus of the book. Là-bas, En route and La cathédrale are a trilogy that feature Durtal, a character whose spiritual progress is tracked. In the novel follows, LOblat, Durtal becomes an oblate in a monastery, as Huysmans himself was in the Benedictine Abbey at Ligugé, near Poitiers. La cathédrale was his most commercially successful work and its profits enabled Huysmans to retire from his civil service job and live on his royalties. Huysmans was born in Paris in 1848 and his father Godfried Huysmans was Dutch, and a lithographer by trade. His mother Malvina Badin Huysmans had been a schoolmistress, Huysmans father died when he was eight years old. After his mother remarried, Huysmans resented his stepfather, Jules Og. During childhood, Huysmans turned away from the Roman Catholic Church and he was unhappy at school but completed his coursework and earned a baccalauréat. For 32 years, Huysmans worked as a servant for the French Ministry of the Interior. The young Huysmans was called up to fight in the Franco-Prussian War and he used this experience in an early story, Sac au dos. After his retirement from the Ministry in 1898, made possible by the success of his novel, La cathédrale, Huysmans planned to leave Paris. He intended to set up a community of Catholic artists, including Charles-Marie Dulac and he had praised the young painter in La cathédrale. Dulac died a few months before Huysmans completed his arrangements for the move to Ligugé, in addition to his novels, Huysmans was known for his art criticism in LArt moderne and Certains
Joris-Karl Huysmans
–
Joris-Karl Huysmans
Joris-Karl Huysmans
–
Huysmans' grave.
17.
Les Nabis
–
Les Nabis were a group of Post-Impressionist avant-garde artists who set the pace for fine arts and graphic arts in France in the 1890s. Initially a group of friends interested in art and literature. In 1890, they began to participate successfully in public exhibitions, meanwhile, most members of the group—Maurice Denis, Pierre Bonnard, Édouard Vuillard—could stand, artistically, on their own. Only Paul Sérusier had problems to overcome—though it was his Talisman, painted at the advice of Paul Gauguin, nabi means prophet in Hebrew and in Arabic. Les Nabis originated as a group of young student artists who banded together at the Académie Julian. Paul Sérusier galvanized Les Nabis, and provided the name and disseminated the example of Paul Gauguin among them, Pierre Bonnard, Édouard Vuillard and Maurice Denis became the best known of the group, at the time, however, they were somewhat peripheral to the core group. The term was coined by the linguist Auguste Cazalis who drew a parallel between the way these painters aimed to revitalize painting and the way the ancient prophets had rejuvenated Israel, possibly the nickname arose because most of them wore beards, some were Jews and all were desperately earnest. Les Nabis regarded themselves as initiates, and used a private vocabulary and they called a studio ergasterium, and ended their letters with the initials E. T. P. M. V. Et M. P. Bonnards posters and lithographs are more firmly in the Art Nouveau, after the turn of the century, as modern art moved towards Abstraction, Expressionism, Cubism, etc. In their later years, these painters also largely abandoned their earlier interests in Decorative and his Théories summed up the Nabis aims long after they had been superseded by the fauve painters and by cubism. Other Nabis were Pierre Bonnard, Édouard Vuillard, Ker-Xavier Roussel, Paul Ranson, the sculptor Aristide Maillol was associated for a time with the group. The Scot, James Pitcairn-Knowles and the Hungarian, Jozsef Rippl-Ronai, lived together in Paris during the first decade of the 20th century and also turned to glass blowing, the post-Impressionist styles they embraced skirted some aspects of contemporary art nouveau and Symbolism. The influence of the English Arts and Crafts Movement set them to work in media that involved crafts beyond painting, printmaking, book illustration and poster design, textiles, pont-Aven School Henry Lerolle, patron Odilon Redon Boyer, Patricia Eckert. The Nabis and the Parisian Avant-Garde, four French Symbolists, A Sourcebook on Pierre Puvis de Chavannes, Gustave Moreau, Odilon Redon, and Maurice Denis. Les peintres du vingtième siècle, Nabis, Fauves, Cubistes, Nabis, Bonnard, Vuillard and Their Circle. The Prophets of Montmartre Ashe Journal article on Les Nabis by Alamantra, Pierre Bonnard, the Graphic Art, an exhibition catalog from The Metropolitan Museum of Art, which contains material on Bonnard and others in the Les Nabis
Les Nabis
–
Paul Sérusier: The Bois d'Amour à Pont-Aven: The Talisman (Le Talisman), 1888, oil on wood, 27 x 21,5 cm
Musée d'Orsay, Paris
Les Nabis
–
Homage to Cézanne, Maurice Denis, 1900. Musée d'Orsay, Paris.
Les Nabis
–
Pierre Bonnard, Les Parisiennes 1893,
lithograph
Les Nabis
–
Paul Ranson,
Paul Sérusier, and Marie-France Ranson in Paul Ranson's studio, c. 1900
18.
Durand-Ruel
–
Paul Durand-Ruel was a French art dealer who is associated with the Impressionists and the Barbizon School. He was one of the first modern art dealers who provided support to his painters with stipends, born Paul-Marie-Joseph Durand-Ruel in Paris, his father was a picture dealer. In 1865 young Paul took over the business, which represented artists such as Corot. In 1867 he moved his gallery from 1 rue de la Paix, Paris, to 16 rue Laffitte, during the 1860s and early 1870s Durand-Ruel was an important advocate and successful art dealer of the Barbizon School. However Durand-Ruel soon established a relationship with a group of painters who would become known as the Impressionists. In December 1870 he opened the first of ten Annual Exhibitions of the Society of French Artists at his new London gallery at 168 New Bond Street, under the management of Charles Deschamps. He recognized the artistic and fashionable potential of Impressionism as early as 1870, eventually Durand-Ruel had exhibitions of Impressionism and other works, at his Paris and London galleries. During the final three decades of the 19th century Durand-Ruel became the best known art dealer and most important commercial advocate of French Impressionism in the world and he succeeded in establishing the market for Impressionism in the United States as well as in Europe. Edgar Degas, Édouard Manet, Claude Monet, Berthe Morisot, Camille Pissarro, Pierre-Auguste Renoir and he represented many lesser known artists including Maxime Dethomas or Hugues Merle amongst others. Regarding the Americans’ open-mindedness towards impressionism, Durand-Ruel once said, The American public does not laugh, “Without America, ” he said, “I would have been lost, ruined, after having bought so many Monets and Renoirs. The two exhibitions there in 1886 saved me, but thanks to that public, Monet and Renoir were enabled to live and after that the French public followed suit. ”Durand-Ruel had an intense rivalry with Parisian art dealer Georges Petit. Durand-Ruel was the subject of a temporary exhibition titled Inventing Impressionism held at the National Gallery in London in 2015. Two exhibition catalogs from the Durand-Ruel Galleries, National Gallery exhibition devoted to Durand-Ruel 4 March –31 May 2015
Durand-Ruel
–
Pierre-Auguste Renoir, Paul Durand-Ruel, 1910
19.
Buddha
–
Gautama Buddha, also known as Siddhārtha Gautama, Shakyamuni Buddha, or simply the Buddha, after the title of Buddha, was an ascetic and sage, on whose teachings Buddhism was founded. He is believed to have lived and taught mostly in the part of ancient India sometime between the sixth and fourth centuries BCE. Gautama taught a Middle Way between sensual indulgence and the severe asceticism found in the śramaṇa movement common in his region and he later taught throughout other regions of eastern India such as Magadha and Kosala. Gautama is the figure in Buddhism. He is recognized by Buddhists as a teacher who attained full Buddhahood. Accounts of his life, discourses, and monastic rules are believed by Buddhists to have been summarized after his death, various collections of teachings attributed to him were passed down by oral tradition and first committed to writing about 400 years later. Scholars are hesitant to make unqualified claims about the facts of the Buddhas life. Apart from the Vedic Brahmins, the Buddhas lifetime coincided with the flourishing of influential schools of thought like Ājīvika, Cārvāka, Jainism. Brahmajala Sutta records sixty-two such schools of thought, thus, Buddha was just one of the many śramaṇa philosophers of that time. The times of Gautamas birth and death are uncertain, most historians in the early 20th century dated his lifetime as circa 563 BCE to 483 BCE. These alternative chronologies, however, have not yet accepted by all historians. It was either a republic, or an oligarchy, and his father was an elected chieftain. He obtained his enlightenment in Bodh Gaya, gave his first sermon in Sarnath, no written records about Gautama were found from his lifetime or some centuries thereafter. One Edict of Asoka, who reigned from circa 269 BCE to 232 BCE, another one of his edicts mentions the titles of several Dhamma texts, establishing the existence of a written Buddhist tradition at least by the time of the Maurya era. These texts may be the precursor of the Pāli Canon and they are written in the Gāndhārī language using the Kharosthi script on twenty-seven birch bark manuscripts and date from the first century BCE to the third century CE. The sources for the life of Siddhārtha Gautama are a variety of different and these include the Buddhacarita, Lalitavistara Sūtra, Mahāvastu, and the Nidānakathā. Of these, the Buddhacarita is the earliest full biography, a poem written by the poet Aśvaghoṣa in the first century CE. The Lalitavistara Sūtra is the next oldest biography, a Mahāyāna/Sarvāstivāda biography dating to the 3rd century CE, the Mahāvastu from the Mahāsāṃghika Lokottaravāda tradition is another major biography, composed incrementally until perhaps the 4th century CE
Buddha
–
A statue of the Buddha from
Sarnath, 4th century CE
Buddha
–
Buddha by
Otgonbayar Ershuu
Buddha
–
Māyā miraculously giving birth to Siddhārtha.
Sanskrit,
palm-leaf manuscript.
Nālandā,
Bihar, India.
Pāla period
Buddha
–
Maya dream of the Birth of Gautama Siddharta
20.
Japonism
–
First described by French art critic and collector, Philippe Burty in 1872, Japonism, from the French Japonisme, is the study of Japanese art and artistic talent. Japonsim affected fine arts, sculpture, architecture, performing arts, the term is used particularly to refer to Japanese influence on European art, especially in impressionism. From the 1860s, ukiyo-e, Japanese woodblock prints, became a source of inspiration for many Western artists, Ukiyo-e began as a Japanese painting school developed in the 17th century. Ukiyo-e woodblock prints were created to fit a demand for inexpensive, although the prints were inexpensive, they were innovative and technical which gave each one value. These prints were created with a single patron in mind. Although a percentage of prints were brought to the West through Dutch trade merchants, Western artists were intrigued by the original use of color and composition. Ukiyo-e prints featured dramatic foreshortening and asymmetrical compositions, during the Edo period, Japan was in a period of seclusion. Although international trade had been shut down, one remained active. Tokugawa Iemitsu, ordered that an island, Deshima, be built off the shores of Nagasaki from which Japan could receive imports. The Dutch were the country able to engage in trade with the Japanese, however. Every year the Dutch arrived in Japan with fleets of ships filled with Western goods for trade, in the cargoes arrived many Dutch treatises on painting and a number of Dutch prints. Shiba Kōkan was one of the notable Japanese artists that studied the Dutch imports, Kōkan created one of the first etchings in Japan which was a technique he had learned from one of the imported treatises. Kōkan would combine the technique of linear perspective, which he learned from a treatise, through the seclusion era, Japanese goods remained a sought after luxury by European monarchs. Japanese porcelain manufacturing began in the century after the unearthing of kaolin clay near Nagasaki. Japanese manufacturers were aware of the popularity of porcelain in Europe, therefore, porcelain and lacquerware became the main exports from Japan to Europe. Porcelain was used to decorate the homes of monarchs in the Baroque, a popular way to display porcelain in a home was to create a porcelain room. Shelves would be placed throughout the room to display the exotic decorations, during the Kaei era, after more than 200 years of seclusion, foreign merchant ships of various nationalities began to visit Japan. Following the Meiji Restoration in 1868, Japan ended a period of national isolation and became open to imports from the West, including photography
Japonism
–
Young Ladies Looking at Japanese Objects by the painter
James Tissot in 1869 is a representation of the popular curiosity in all Japanese items that started with the opening of the country in the
Meiji Restoration of the 1860s. Large number of artifacts came to the West and were exhibited and sold to an eager audience.
Japonism
–
Chantilly soft-paste porcelain bottle in
Kakiemon style, 1730-1735.
Japonism
–
Appert Frères - Carp Vase, 1878-1884
Japonism
–
Edward William Godwin designed a number of Japanese-inspired pieces, including this
sideboard, 1867–1870
21.
Getty Museum
–
The J. Paul Getty Museum, commonly referred to as the Getty, is an art museum in California housed on two campuses, the Getty Center and Getty Villa. The Getty Center is in the Brentwood neighborhood of Los Angeles and is the location of the museum. The collection features Western art from the Middle Ages to the present and its estimated 1.3 million visitors annually make it one of the most visited museums in the United States. The museums second location, the Getty Villa, is in the Pacific Palisades neighborhood and displays art from ancient Greece, Rome, and Etruria. In 1974, J. Paul Getty opened a museum in a re-creation of the Villa of the Papyri at Herculaneum on his property in Pacific Palisades, in 1982, the museum became the richest in the world when it inherited US$1.2 billion. In 1997, the moved to its current location in the Brentwood neighborhood of Los Angeles. Detailed information about the J. Paul Getty Museum’s collections is provided on GettyGuide, at the GettyGuide stations in the Museum, visitors can get information about exhibitions, interact with a timeline, watch videos on art-making techniques, and more. Also available at the Museum, the GettyGuide multimedia player features commentary from curators and conservators on many works of art, with GettyGuide on the Web, one may browse the Museum’s collection and bookmark works of art to create a customized tour and printable map. In 1984, Frel was demoted, and in 1986, he resigned, the Getty is involved in a controversy regarding proper title to some of the artwork in its collection. The museums previous curator of antiquities, Marion True, was indicted in Italy in 2005 on criminal charges relating to trafficking in stolen antiquities, similar charges have been addressed by the Greek authorities. The primary evidence in the case came from the 1995 raid of a Geneva, Switzerland, in 2005 True was forced to tender her resignation by the Board of Trustees, which announced her early retirement. Italy allowed the statute of limitations of the charges filed against her to expire in October 2010, True is currently under investigation by Greek authorities over the acquisition of a 2, 500-year-old funerary wreath. The wreath, along with a 6th-century BC statue of a woman, have returned to Greece and are exhibited at the Archaeological Museum of Thessaloniki. The Getty Museum resisted the requests of the Italian government for two decades, only to admit later that there might be problems attached to the acquisition. In 2006, Italian senior cultural official Giuseppe Proietti said, The negotiations havent made a step forward. Only after he suggested the Italian government to take cultural sanctions against the Getty, suspending all cultural cooperation, in another unrelated case in 1999, the Getty Museum had to hand over three antiquities to Italy after determining they were stolen. A Summary Catalogue of European Decorative Arts in the J. Paul Getty Museum was published in 2001, indeed, some discrete works are provided with annotations, e. g. In 2016, the head of the Greek god Hades was returned to Sicily
Getty Museum
–
J. Paul Getty Museum
Getty Museum
–
The Getty attracts approximately 1.8 million visitors a year.
Getty Museum
–
Architect
Richard Meier chose beige-colored Italian
travertine panels to cover the retaining walls and to serve as paving stones for the arrival plaza and Museum courtyard.
Getty Museum
–
Fra Bartolommeo, The Rest on the Flight Into Egypt with St. John the Baptist, about 1509
22.
Legion of Honor
–
The Legion of Honour, full name National Order of the Legion of Honour, is the highest French order of merit for military and civil merits, established 1802 by Napoléon Bonaparte. The order is divided into five degrees of increasing distinction, Chevalier, Officier, Commandeur, Grand Officier and Grand-Croix. The orders motto is Honneur et Patrie and its seat is the Palais de la Légion dHonneur next to the Musée dOrsay, in the French Revolution, all French orders of chivalry were abolished, and replaced with Weapons of Honour. The Légion however did use the organization of old French orders of chivalry, the badges of the legion also bear a resemblance to the Ordre de Saint-Louis, which also used a red ribbon. Napoleon originally created this to ensure political loyalty, the organization would be used as a facade to give political favours, gifts, and concessions. The Légion was loosely patterned after a Roman legion, with legionaries, officers, commanders, regional cohorts, the highest rank was not a grand cross but a Grand Aigle, a rank that wore all the insignia common to grand crosses. The members were paid, the highest of them extremely generously,5,000 francs to an officier,2,000 francs to a commandeur,1,000 francs to an officier,250 francs to a légionnaire. Napoleon famously declared, You call these baubles, well, it is with baubles that men are led, do you think that you would be able to make men fight by reasoning. That is good only for the scholar in his study, the soldier needs glory, distinctions, rewards. This has been quoted as It is with such baubles that men are led. The order was the first modern order of merit, under the monarchy, such orders were often limited to Roman Catholics, and all knights had to be noblemen. The military decorations were the perks of the officers, the Légion, however, was open to men of all ranks and professions—only merit or bravery counted. The new legionnaire had to be sworn in the Légion and it is noteworthy that all previous orders were crosses or shared a clear Christian background, whereas the Légion is a secular institution. The jewel of the Légion has five arms, in a decree issued on the 10 Pluviôse XIII, a grand decoration was instituted. This decoration, a cross on a sash and a silver star with an eagle, symbol of the Napoleonic Empire, became known as the Grand Aigle. After Napoleon crowned himself Emperor of the French in 1804 and established the Napoleonic nobility in 1808, the title was made hereditary after three generations of grantees. Napoleon had dispensed 15 golden collars of the legion among his family and this collar was abolished in 1815. The Légion dhonneur was prominent and visible in the French Empire, the Emperor always wore it and the fashion of the time allowed for decorations to be worn most of the time
Legion of Honor
–
Order's
streamer
Legion of Honor
–
Medal worn by a Chevalier (Knight) of the Légion d'honneur
Legion of Honor
–
A depiction of Napoleon making some of the first awards of the Légion d'honneur, at a camp near
Boulogne on 16 August 1804
Legion of Honor
–
First Légion d'Honneur investiture, 15 July 1804, at
Saint-Louis des Invalides by
Jean-Baptiste Debret (1812)
23.
New York (state)
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New York is a state in the northeastern United States, and is the 27th-most extensive, fourth-most populous, and seventh-most densely populated U. S. state. New York is bordered by New Jersey and Pennsylvania to the south and Connecticut, Massachusetts, and Vermont to the east. With an estimated population of 8.55 million in 2015, New York City is the most populous city in the United States, the New York Metropolitan Area is one of the most populous urban agglomerations in the world. New York City makes up over 40% of the population of New York State, two-thirds of the states population lives in the New York City Metropolitan Area, and nearly 40% lives on Long Island. Both the state and New York City were named for the 17th-century Duke of York, the next four most populous cities in the state are Buffalo, Rochester, Yonkers, and Syracuse, while the state capital is Albany. New York has a diverse geography and these more mountainous regions are bisected by two major river valleys—the north-south Hudson River Valley and the east-west Mohawk River Valley, which forms the core of the Erie Canal. Western New York is considered part of the Great Lakes Region and straddles Lake Ontario, between the two lakes lies Niagara Falls. The central part of the state is dominated by the Finger Lakes, New York had been inhabited by tribes of Algonquian and Iroquoian-speaking Native Americans for several hundred years by the time the earliest Europeans came to New York. The first Europeans to arrive were French colonists and Jesuit missionaries who arrived southward from settlements at Montreal for trade, the British annexed the colony from the Dutch in 1664. The borders of the British colony, the Province of New York, were similar to those of the present-day state, New York is home to the Statue of Liberty, a symbol of the United States and its ideals of freedom, democracy, and opportunity. In the 21st century, New York has emerged as a node of creativity and entrepreneurship, social tolerance. On April 17,1524 Verrazanno entered New York Bay, by way of the now called the Narrows into the northern bay which he named Santa Margherita. Verrazzano described it as a vast coastline with a delta in which every kind of ship could pass and he adds. This vast sheet of water swarmed with native boats and he landed on the tip of Manhattan and possibly on the furthest point of Long Island. Verrazannos stay was interrupted by a storm which pushed him north towards Marthas Vineyard, in 1540 French traders from New France built a chateau on Castle Island, within present-day Albany, due to flooding, it was abandoned the next year. In 1614, the Dutch under the command of Hendrick Corstiaensen, rebuilt the French chateau, Fort Nassau was the first Dutch settlement in North America, and was located along the Hudson River, also within present-day Albany. The small fort served as a trading post and warehouse, located on the Hudson River flood plain, the rudimentary fort was washed away by flooding in 1617, and abandoned for good after Fort Orange was built nearby in 1623. Henry Hudsons 1609 voyage marked the beginning of European involvement with the area, sailing for the Dutch East India Company and looking for a passage to Asia, he entered the Upper New York Bay on September 11 of that year
New York (state)
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British general
John Burgoyne surrenders at
Saratoga in 1777.
New York (state)
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Flag
New York (state)
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1800 map of New York from
Low's Encyclopaedia
New York (state)
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The
Erie Canal at
Lockport, New York in 1839
24.
Armory Show
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Among the many exhibitions that have been held in the vast spaces of U. S. The three-city exhibition started in New York Citys 69th Regiment Armory, on Lexington Avenue between 25th and 26th Streets, from February 17 until March 15,1913. The exhibition went on to show at the Art Institute of Chicago and then to The Copley Society of Art in Boston, the show served as a catalyst for American artists, who became more independent and created their own artistic language. On 14 December 1911 an early meeting of what would become the Association of American Painters and Sculptors was organized at Madison Gallery in New York, the meeting included Henry Fitch Taylor, Jerome Myers, Elmer Livingston MacRae and Walt Kuhn. In January 1912, Walt Kuhn, Walter Pach, and Arthur B, Davies joined together with some two dozen of their colleagues to reinforce a professional coalition, AAPS. They intended the organization to lead the public taste in art, other founding AAPS members included D. Putnam Brinley, Gutzon Borglum, John Frederick Mowbray-Clarke, Leon Dabo, William J. Glackens, Ernest Lawson, Jonas Lie, George Luks, Karl Anderson, James E. Fraser, Allen Tucker, Davies served as president of AAPS, with Kuhn acting as secretary. The AAPS members spent more than a year planning their first project, the International Exhibition of Modern Art, a show of giant proportions, unlike any New York had seen. The 69th Regiment Armory was settled on as the site for the exhibition in the spring of 1912, rented for a fee of $5,000. It was confirmed that the show would travel to Chicago. While in Paris Kuhn met up with Pach, who knew the art scene there intimately, only after Davies and Kuhn returned to New York in December did they issue an invitation for American artists to participate. Pach was responsible for securing loans from these painters for the Armory Show, most of the artists in Paris who sent works to the Armory Show knew Pach personally and entrusted their works to him. The Armory Show was the first, and, ultimately, the only exhibition mounted by the AAPS and it displayed some 1,300 paintings, sculptures, and decorative works by over 300 avant-garde European and American artists. Impressionist, Fauvist, and Cubist works were represented, news reports and reviews were filled with accusations of quackery, insanity, immorality, and anarchy, as well as parodies, caricatures, doggerels and mock exhibitions. About the modern works, former President Theodore Roosevelt declared, Thats not art, the civil authorities did not, however, close down or otherwise interfere with the show. Julian Street, an art critic, wrote that the work resembled an explosion in a shingle factory, the painting was purchased from the Armory Show by Fredric C. The exhibition went on to show at the Art Institute of Chicago and then to The Copley Society of Art in Boston, while in Chicago, the exhibition created a scandal that reached the governors office. Several articles in the press recounted the issue, a visit of an investigator to the show and his report on the pictures caused Lieutenant Governor Barratt OHara to order an immediate examination of the entire exhibition
Armory Show
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Armory show button, 1913, from the Archives of American Art
Armory Show
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ArmoryShow poster
Armory Show
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"A slight attack of third dimentia [sic] brought on by excessive study of the much-talked of cubist pictures in the International Exhibition at New York" by
John French Sloan, April 1913.
Armory Show
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69th Regiment Armory in 2008
25.
Utica, New York
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Utica is a city in the Mohawk Valley and the county seat of Oneida County, New York, United States. The tenth-most-populous city in New York, its population was 62,235 in the 2010 U. S. census, located on the Mohawk River at the foot of the Adirondack Mountains, Utica is approximately 90 miles northwest of Albany and 45 miles east of Syracuse. Formerly a river settlement inhabited by the Mohawk tribe of the Iroquois Confederacy, Utica attracted European-American settlers from New England during and after the American Revolution. In the 19th century, immigrants strengthened its position as a city between Albany and Syracuse on the Erie and Chenango Canals and the New York Central Railroad. During the 19th and 20th centuries, the citys infrastructure contributed to its success as a manufacturing center, Uticas 20th-century political corruption and organized crime gave it the nicknames Sin City, and later, the city that God forgot. Like other Rust Belt cities, Utica had a downturn beginning in the mid-20th century. Several theories exist about the history of the name Utica, prior to construction of the fort, the Mohawk, Onondaga and Oneida tribes had occupied this area south of the Great Lakes region as early as 4000 BC. The Mohawk were the largest and most powerful tribe in the part of the Mohawk Valley. Colonists had a fur trade with them, in exchange for firearms. The land housing Old Fort Schuyler was part of a 20, since the fort was located near several trails, its position—on a bend at a shallow portion of the Mohawk River—made it an important fording point. The Mohawk called the bend Unundadages, and the Mohawk word appears on the citys seal, during the American Revolution, border raids from British-allied Iroquois tribes harried the settlers on the frontier. George Washington ordered Sullivans Expedition, Rangers, to enter Central New York, more than 40 Iroquois villages were destroyed and their winter stores, causing starvation. In the aftermath of the war, numerous European-American settlers migrated into the state, in 1794 a state road, Genesee Road, was built from Utica west to the Genesee River. That year a contract was awarded to the Mohawk Turnpike and Bridge Company to extend the road northeast to Albany, the Seneca Turnpike was key to Uticas development, replacing a worn footpath with a paved road. The village became a rest and supply area along the Mohawk River for goods, the boundaries of the village of Utica were defined in an act passed by the New York State Legislature on April 3,1798. Utica expanded its borders in subsequent 1805 and 1817 charters, on April 5,1805, the villages eastern and western boundaries were expanded, and on April 7,1817, Utica separated from Whitestown on its west. After completion of the Erie Canal in 1825, the growth was stimulated again. The municipal charter was passed by the legislature on February 13,1832
Utica, New York
Utica, New York
Utica, New York
Utica, New York
26.
Art Institute of Chicago
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The Art Institute of Chicago, founded in 1879 and located in Chicagos Grant Park, is one of the oldest and largest art museums in the United States. Recognized for its efforts and popularity among visitors, the museum hosts approximately 1.5 million guests annually. The growth of the collection has warranted several additions to the museums original 1893 building, the Art Institute is connected to the School of the Art Institute of Chicago, a leading art school, making it one of the few remaining unified arts institutions in the United States. In 1866, a group of 35 artists founded the Chicago Academy of Design in a studio on Dearborn Street, the organization was modeled after European art academies, such as the Royal Academy, with Academicians and Associate Academicians. The Academys charter was granted in March 1867, classes started in 1868, meeting every day at a cost of $10 per month. The Academys success enabled it to build a new home for the school, a stone building on 66 West Adams Street. When the Great Chicago Fire destroyed the building in 1871 the Academy was thrown into debt, attempts to continue despite the loss by using rented facilities failed. By 1878 the Academy was $10,000 in debt, members tried to rescue the ailing institution by making deals with local businessmen, before some finally abandoned it in 1879 to found a new organization, named the Chicago Academy of Fine Arts. When the Chicago Academy of Design went bankrupt the same year, in 1882, the Chicago Academy of Fine Arts changed its name to the current Art Institute of Chicago and elected as its first president the banker and philanthropist Charles L. Also in 1882, the purchased a lot on the southwest corner of Michigan Avenue. By January 1885 the trustees recognized the need to provide space for the organizations growing collection. The city agreed, and the building was completed in time for the year of the fair. Construction costs were met by selling the Michigan/Van Buren property, on October 31,1893 the Institute moved into the new building. For the opening reception on December 8,1893, Theodore Thomas, from the 1900s to the 1960s the school offered with the Logan Family the Logan Medal of the Arts, an award which became one of the most distinguished awards presented to artists in the US. Between 1959 and 1970 the Institute was a key site in the battle to gain art and documentary photography a place in galleries, under curator Hugh Edwards and his assistants. As Director of the museum starting in the early 1980s, James N. Wood conducted an expansion of its collection. He retired from the museum in 2004, in 2006, the Art Institute began construction of The Modern Wing, an addition situated on the southwest corner of Columbus and Monroe. The project, designed by Pritzker Prize winning architect Renzo Piano, was completed, the 264, 000-square-foot building makes the Art Institute the second-largest art museum in the United States
Art Institute of Chicago
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One of the two lion statues (Kemeys, bronze 1893) flanking the Institute's main entrances
Art Institute of Chicago
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Seurat at the Art Institute
Art Institute of Chicago
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Edward Hopper,
Nighthawks (1942)
Art Institute of Chicago
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Mary Cassatt, The Bath 1891–1892
27.
Museum of Modern Art
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The Museum of Modern Art is an art museum located in Midtown Manhattan in New York City, on 53rd Street between Fifth and Sixth Avenues. MoMA has been important in developing and collecting modernist art, and is identified as one of the largest and most influential museums of modern art in the world. The MoMA Library includes approximately 300,000 books and exhibition catalogs, over 1,000 periodical titles, the archives holds primary source material related to the history of modern and contemporary art. The idea for The Museum of Modern Art was developed in 1929 primarily by Abby Aldrich Rockefeller and they became known variously as the Ladies, the daring ladies and the adamantine ladies. They rented modest quarters for the new museum in the Heckscher Building at 730 Fifth Avenue in Manhattan, and it opened to the public on November 7,1929, nine days after the Wall Street Crash. Abby had invited A. Conger Goodyear, the president of the board of trustees of the Albright Art Gallery in Buffalo, New York. At the time, it was Americas premier museum devoted exclusively to art. One of Abbys early recruits for the staff was the noted Japanese-American photographer Soichi Sunami. Goodyear enlisted Paul J. Sachs and Frank Crowninshield to join him as founding trustees, Sachs, the associate director and curator of prints and drawings at the Fogg Museum at Harvard University, was referred to in those days as a collector of curators. Goodyear asked him to recommend a director and Sachs suggested Alfred H. Barr, under Barrs guidance, the museums holdings quickly expanded from an initial gift of eight prints and one drawing. Its first successful exhibition was in November 1929, displaying paintings by Van Gogh, Gauguin, Cézanne. Abbys husband was opposed to the museum and refused to release funds for the venture. Nevertheless, he donated the land for the current site of the museum, plus other gifts over time. During that time it initiated many more exhibitions of noted artists, the museum also gained international prominence with the hugely successful and now famous Picasso retrospective of 1939–40, held in conjunction with the Art Institute of Chicago. In its range of presented works, it represented a significant reinterpretation of Picasso for future art scholars, Boy Leading a Horse was briefly contested over ownership with the Solomon R. Guggenheim Museum. In 1941, MoMA hosted the exhibition, Indian Art of the United States. His brother, David Rockefeller, also joined the board of trustees in 1948. David subsequently employed the noted architect Philip Johnson to redesign the garden and name it in honor of his mother
Museum of Modern Art
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Museum of Modern Art
Museum of Modern Art
Museum of Modern Art
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The entrance to The Museum of Modern Art
Museum of Modern Art
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Stairs in the Museum of Modern Art
28.
Fondation Beyeler
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The Beyeler Foundation or Fondation Beyeler with its museum in Riehen, near Basel, owns and oversees the art collection of Hildy and Ernst Beyeler. Art dealers Ernst Beyeler and Hilda Kunz, known as Hildy, created the Beyeler Foundation in 1982, by building Renzo Pianos museum structure in 1997, the Beyeler Foundation made its collection permanently accessible to the public. The museum is funded, and it receives annual grants from the cantons of Basel City and Basel County. In 2006, approximately 340,000 persons visited the museum, the Beyeler Foundation opened its doors on 18 October 1997, presenting 140 works of modern classics, including 23 Picassos. The paintings appear alongside some 25 objects of art from Africa, Oceania. A third of the space is reserved for special exhibitions staged to complement the permanent collection. The collection is expanding, particularly in terms of works made after 1950, the garden surrounding the museum also periodically serves as a venue for special exhibitions. In a work called Wrapped Trees, Christo and Jeanne-Claude veiled 178 trees in the park around the Beyeler Foundation, embedded in the Berowerpark in the Basel suburb of Riehen, the building features a glazed façade largely looking out onto the corn fields and vines covering the Tüllinger Hills. The two perimeter walls of the garden site inspired the idea of the museum’s layout. Four 115-metre-long supporting porphyry walls running north to south and standing 7m apart define the plan of the building. Resting on top of the foundation walls, the lightweight glass roof, white enamelled on the reverse, admits northern light but screens off light from the east. Along the northern and the sides the roof projects far beyond the walls. Less than two years after the inauguration in autumn 1997, the building was lengthened by 12 metres. This increased the area by 458 m² to its current 3,764 m². Situated vis-à-vis the museum building, the late-Baroque Villa Berower houses the administration department. A Home for Art, Foundation Beyeler - A Home for Art, museums in Basel Beyeler Foundation website Wrapped Trees in the Beyeler Foundation Basel-Karlsruhe, Rainer Usselmann on Face to Face to Cyberspace at Fondation Beyeler Set of photos
Fondation Beyeler
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Fondation Beyeler
Fondation Beyeler
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Suprematist Composition (1915), oil on canvas, by
Kazimir Malevich
Fondation Beyeler
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White Curves (2002), made of white aluminium, by
Ellsworth Kelly
Fondation Beyeler
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Sculptures by
Alexander Calder (front) and
Ellsworth Kelly in the park
29.
Honolulu Museum of Art
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The Honolulu Museum of Art is an art museum in Honolulu, Hawaiʻi. The museum is largest of its kind in the state, and was founded in 1922 by Anna Rice Cooke. The Honolulu Museum of Art was called “the finest small museum in the United Statesˮ by J. Carter Brown, director of the National Gallery of Art from 1969 to 1992. It presents international caliber special exhibitions and features a collection that includes Hokusai, van Gogh, Gauguin, Monet, Picasso and Warhol, located in two of Honolulu’s most beautiful buildings, visitors enjoy two cafés, gardens, and films and concerts at the theater. In 2011, The Contemporary Museum gifted its assets and collection to the Honolulu Academy of Arts, in 2012, the Museum is accredited by the American Alliance of Museums and registered as a National and State Historical site. In 1990, the Honolulu Museum of Art School was opened to expand the program of art classes. In 2001, the Henry R. Luce Pavilion Complex opened with the Honolulu Museum of Art Café, Museum Shop, the Honolulu Museum of Art has a large collection of Asian art, especially Japanese and Chinese works. Major collections include the Samuel H, other collections include the James A. Michener collection of ukiyo-e prints and the Hawaiian art collection, which chronicles the history of art in Hawaiʻi. The permanent collection is presented in 32 galleries and six courtyards, the Honolulu Museum of Art occupies 3.2 acres near downtown Honolulu, not far from Waikīkī beach. The Museum is open to the public Tuesday through Sunday, admission is free to members, children and for some events, but otherwise a fee is charged. Some events and certain days offer free admission to all, an optional audio guide includes 40 selections from the collection. Guided tours are offered several times daily, tours in the Japanese language, for the hearing impaired and specialty group tours for 10 or more are also available. The museum is open 10 a. m. to 4,30 p. m. on Tuesday to Saturday,1 p. m. to 5 p. m. on Sunday, and closed on Monday. The museums second location, Spalding House, is located in lush Makiki Heights and features galleries of art, a café, on permanent view is David Hockneys installation Lenfant et les sortilèges, the artists interpretation of his original stage designs for the 1981 Metropolitan Opera production. The Doris Duke Theatre at the Museum seats 280 and it hosts movies, concerts, lectures, and presentations. The theatre is home to Hawaiis GLBT film festival the Rainbow Film Festival. It is currently run by Theatre Manager, Taylour Chang, in 1927, the Robert Allerton Art Research Library opened with 500 books. In 1955, it was expanded and named for Robert Allerton, Collections include 45,000 books and periodicals, biographical files on artists, and auction catalogues dating to the beginning of the 20th century
Honolulu Museum of Art
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The Honolulu Museum of Art
Honolulu Museum of Art
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Mrs. Thomas Lincoln Manson Jr (Mary Groot) 1890, by
John Singer Sargent. Oil on canvas (56.06" x 44.25")
Honolulu Museum of Art
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Gautama Buddha and the Eight Great
Bodhisattvas, Korea,
Joseon Dynasty, 16th century
Honolulu Museum of Art
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Hemis (home dance)
kachina doll, Arizona,
Hopi people in the Honolulu Museum of Art
30.
Dallas Museum of Art
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The Dallas Museum of Art is a major art museum located in the Arts District of downtown Dallas, Texas, along Woodall Rodgers Freeway between St. Paul and Harwood. In 1984, the museum moved from its previous location in Fair Park to the Arts District, the new building was designed by Edward Larrabee Barnes, the 2007 winner of the American Institute of Architects Gold Medal. The museum collection is made up of more than 24,000 objects and it is also defined by its dynamic exhibition policy and award-winning educational programs. The Mildred R. and Frederick M. Mayer Library contains over 50,000 volumes available to curators, with 159,000 square feet of exhibition spaces, it is one of the largest art museums in the United States. The museums history began with the establishment in 1903 of the Dallas Art Association, frank Reaugh, a Texas artist, saw in the new library the opportunity to display works of art. This idea was championed by May Dickson Exall, who was the first president of the Dallas Public Library. ”The museum’s collections started growing from this moment on and it soon became necessary to find a new permanent home. The museum, renamed the Dallas Museum of Fine Arts in 1932, relocated to a new art deco facility within Fair Park in 1936 and this new facility was designed by a consortium of Dallas architects in consultation with Paul Cret of Philadelphia. It is still possible to visit this building, in 1943, Jerry Bywaters became the director of the museum, a position he held for the next twenty-one years. Artist, art critic, and teacher, Bywaters gave a sense of identity and community to the museum, under Bywaters tenure, impressionist, abstract, and contemporary masterpieces were acquired and the Texas identity of the museum was emphasized. This identity is represented by works by Alexandre Hogue, Olin Herman Travis, Bywaters himself. In 1963, the Dallas Museum of Fine Arts merged with the Dallas Museum of Contemporary Art, rueppel became the director of the newly merged Museum. In 1965, the museum held an exhibition called The Art of Piet Mondrian and one entitled Sculpture, by the late 1970s, the greatly enlarged permanent collection and the ambitious exhibition program fostered a need for a new museum facility. Under Harry Parker’s direction, the museum was able to once again, to its current venue. The $54 million facility, designed by New York architect Edward Larrabee Barnes, was financed by a 1979 City bond election, the project was galvanized by the slogan “A Great City Deserves a Great Museum, ” and the new building opened in January 1984. The museums collections include more than 24,000 works of art from around the world ranging from ancient to modern times and they are conceived as a celebration of the human power of creation. Objects in the museum’s African collection come from West Africa and Central Africa, the objects date primarily from the 16th to the 20th centuries, although the earliest object is a Nok terracotta bust from Nigeria that dates from somewhere between 200 BC to 200 AD. Some works in the collection were created as symbols of leadership and status, the American art collection includes paintings, sculptures, and works on paper from the United States from the colonial period to World War II, and art from Mexico, and Canada. One of the most important pieces in the collection is The Icebergs by Frederic Edwin Church and this painting had long been referred to as a lost masterpiece
Dallas Museum of Art
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Mark di Suvero, Ave, Dallas Museum of Art sculpture garden
Dallas Museum of Art
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Frederic Church,
The Icebergs, 1861
Dallas Museum of Art
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Gustave Courbet, Fox In The Snow, 1860, Dallas Museum of Art
Dallas Museum of Art
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Takenouchi no Sukune Meets the Dragon King of the Sea, Japanese, Meiji period, 1879-81
