1.
Realism (arts)
–
Realism in the arts is the attempt to represent subject matter truthfully, without artificiality and avoiding artistic conventions, implausible, exotic and supernatural elements. Realism has been prevalent in the arts at many periods, and is in part a matter of technique and training. In the visual arts, illusionistic realism is the depiction of lifeforms, perspective. Realist works of art may emphasize the mundane, ugly or sordid, such as works of realism, regionalism. There have been various movements in the arts, such as the opera style of verismo, literary realism, theatrical realism. The realism art movement in painting began in France in the 1850s, the realist painters rejected Romanticism, which had come to dominate French literature and art, with roots in the late 18th century. Realism is the precise, detailed and accurate representation in art of the appearance of scenes. Realism in this sense is also called naturalism, mimesis or illusionism, realistic art was created in many periods, and it is in large part a matter of technique and training, and the avoidance of stylization. It becomes especially marked in European painting in the Early Netherlandish painting of Jan van Eyck, however such realism is often used to depict, for example, angels with wings, which were not things the artists had ever seen in real life. It is the choice and treatment of matter that defines Realism as a movement in painting. The development of increasingly accurate representation of the appearances of things has a long history in art. It includes elements such as the depiction of the anatomy of humans and animals, of perspective and effects of distance. Ancient Greek art is recognised as having made great progress in the representation of anatomy. Pliny the Elders famous story of birds pecking at grapes painted by Zeuxis in the 5th century BC may well be a legend, roman portraiture, when not under too much Greek influence, shows a greater commitment to a truthful depiction of its subjects. The art of Late Antiquity famously rejected illusionism for expressive force, scientific methods of representing perspective were developed in Italy and gradually spread across Europe, and accuracy in anatomy rediscovered under the influence of classical art. As in classical times, idealism remained the norm, intriguingly, having led the development of illusionic painting, still life was to be equally significant in its abandonment in Cubism. The depiction of ordinary, everyday subjects in art also has a history, though it was often squeezed into the edges of compositions. However these objects are at least largely there because they carry layers of complex significance, pieter Bruegel the Elder pioneered large panoramic scenes of peasant life
2.
Impressionism
–
Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. The Impressionists faced harsh opposition from the art community in France. The development of Impressionism in the arts was soon followed by analogous styles in other media that became known as impressionist music. Radicals in their time, early Impressionists violated the rules of academic painting and they constructed their pictures from freely brushed colours that took precedence over lines and contours, following the example of painters such as Eugène Delacroix and J. M. W. Turner. They also painted scenes of modern life, and often painted outdoors. Previously, still lifes and portraits as well as landscapes were painted in a studio. The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air, the Impressionists, however, developed new techniques specific to the style. The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if the art critics and art establishment disapproved of the new style. In the middle of the 19th century—a time of change, as Emperor Napoleon III rebuilt Paris, the Académie was the preserver of traditional French painting standards of content and style. Historical subjects, religious themes, and portraits were valued, landscape, the Académie preferred carefully finished images that looked realistic when examined closely. Paintings in this style were made up of brush strokes carefully blended to hide the artists hand in the work. Colour was restrained and often toned down further by the application of a golden varnish, the Académie had an annual, juried art show, the Salon de Paris, and artists whose work was displayed in the show won prizes, garnered commissions, and enhanced their prestige. The standards of the juries represented the values of the Académie, represented by the works of artists as Jean-Léon Gérôme. In the early 1860s, four young painters—Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and they discovered that they shared an interest in painting landscape and contemporary life rather than historical or mythological scenes. A favourite meeting place for the artists was the Café Guerbois on Avenue de Clichy in Paris, where the discussions were led by Édouard Manet. They were soon joined by Camille Pissarro, Paul Cézanne, during the 1860s, the Salon jury routinely rejected about half of the works submitted by Monet and his friends in favour of works by artists faithful to the approved style. In 1863, the Salon jury rejected Manets The Luncheon on the Grass primarily because it depicted a woman with two clothed men at a picnic. While the Salon jury routinely accepted nudes in historical and allegorical paintings, the jurys severely worded rejection of Manets painting appalled his admirers, and the unusually large number of rejected works that year perturbed many French artists
3.
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
4.
Montmartre
–
Montmartre is a large hill in Pariss 18th arrondissement. It is 130 m high and gives its name to the surrounding district, Montmartre is primarily known for the white-domed Basilica of the Sacré-Cœur on its summit and as a nightclub district. The other, older, church on the hill is Saint Pierre de Montmartre, Montmartre is also the setting for several hit films. This site is served by metro, with line 2 stations at Anvers, Pigalle, and Blanche and line 12 stations at Pigalle, Abbesses, Lamarck - Caulaincourt, texts from the 8th century cite the name of mons Mercori, and a 9th-century text speaks of Mount Mars. Excavations in 1975 north of the Church of Saint-Pierre found coins from the 3rd century, earlier excavations in the 17th century at the Fontaine-du-But found vestiges of Roman baths from the 2nd century. According to Hilduin, Denis collected his head and carried it as far as the fontaine Saint-Denis, then descended the slope of the hill. Hilduin wrote that a church had built in the place formerly called Mont de Mars. In 1134, king Louis VI purchased the Merovingian chapel and built on the site the church of Saint-Pierre de Montmartre and he also founded The Royal Abbey of Montmartre, a monastery of the Benedictine order, whose buildings, gardens and fields occupied most of Montmartre. He also built a chapel, called the Martyrium, at the site where it was believed that Saint Denis had been decapitated. It became a pilgrimage site. In the 17th century, a priory called abbaye den bas was built at that site, the abbey was destroyed in 1790 during the French Revolution, and the convent demolished to make place for gypsum mines. The church of Saint-Pierre was saved, at the place where the chapel of the Martyrs was located, an oratory was built in 1855. By the 15th century, the north and northeast slopes of the hill were the site of a surrounded by vineyards, gardens and orchards of peach. The first mills were built on the slope in 1529, grinding wheat, barley. The siege eventually failed when a relief force approached and forced Henry to withdraw. In 1790, Montmartre was located just outside the limits of Paris and that year, under the revolutionary government of the National Constituent Assembly, it became the commune of Montmartre, with its town hall located on place du Tertre, site of the former abbey. The main businesses of the commune were wine making, stone quarries, the mining of gypsum had begun in the Gallo-Roman period, first in open air mines and then underground, and continued until 1860. The gypsum was cut into blocks, baked, then ground, sold as montmartarite, it was used for plaster, because of its resistance to fire and water
5.
Avon, Seine-et-Marne
–
Avon is a commune in the Seine-et-Marne department in the Île-de-France region in north-central France. Avon and Fontainebleau, together with three other communes, form an urban area of 36,713 inhabitants. The two towns share a boundary, whereas other miscellaneous smaller villages are scattered around in the forest that surrounds them. The rest of the town consists mainly of houses, in the neighbourhoods of La Vallée. As previously said, the town is nested in the Fontainebleau forest, it is bordered on one side by the Seine river, the main attraction in the town is the old, Roman-style church of St. Pierre, where the 18th-century French mathematician Étienne Bézout was buried. The inhabitants are called the Avonnais, Avon is served by the Fontainebleau-Avon station on the Transilien Paris – Lyon. Communes of the Seine-et-Marne department INSEE Official site 1999 Land Use, from IAURIF French Ministry of Culture site for Avon Map of Avon on Michelin
6.
France
–
France, officially the French Republic, is a country with territory in western Europe and several overseas regions and territories. The European, or metropolitan, area of France extends from the Mediterranean Sea to the English Channel and the North Sea, Overseas France include French Guiana on the South American continent and several island territories in the Atlantic, Pacific and Indian oceans. France spans 643,801 square kilometres and had a population of almost 67 million people as of January 2017. It is a unitary republic with the capital in Paris. Other major urban centres include Marseille, Lyon, Lille, Nice, Toulouse, during the Iron Age, what is now metropolitan France was inhabited by the Gauls, a Celtic people. The area was annexed in 51 BC by Rome, which held Gaul until 486, France emerged as a major European power in the Late Middle Ages, with its victory in the Hundred Years War strengthening state-building and political centralisation. During the Renaissance, French culture flourished and a colonial empire was established. The 16th century was dominated by civil wars between Catholics and Protestants. France became Europes dominant cultural, political, and military power under Louis XIV, in the 19th century Napoleon took power and established the First French Empire, whose subsequent Napoleonic Wars shaped the course of continental Europe. Following the collapse of the Empire, France endured a succession of governments culminating with the establishment of the French Third Republic in 1870. Following liberation in 1944, a Fourth Republic was established and later dissolved in the course of the Algerian War, the Fifth Republic, led by Charles de Gaulle, was formed in 1958 and remains to this day. Algeria and nearly all the colonies became independent in the 1960s with minimal controversy and typically retained close economic. France has long been a centre of art, science. It hosts Europes fourth-largest number of cultural UNESCO World Heritage Sites and receives around 83 million foreign tourists annually, France is a developed country with the worlds sixth-largest economy by nominal GDP and ninth-largest by purchasing power parity. In terms of household wealth, it ranks fourth in the world. France performs well in international rankings of education, health care, life expectancy, France remains a great power in the world, being one of the five permanent members of the United Nations Security Council with the power to veto and an official nuclear-weapon state. It is a member state of the European Union and the Eurozone. It is also a member of the Group of 7, North Atlantic Treaty Organization, Organisation for Economic Co-operation and Development, the World Trade Organization, originally applied to the whole Frankish Empire, the name France comes from the Latin Francia, or country of the Franks
7.
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
8.
Landscape painting
–
In other works, landscape backgrounds for figures can still form an important part of the work. Sky is almost always included in the view, and weather is often an element of the composition, detailed landscapes as a distinct subject are not found in all artistic traditions, and develop when there is already a sophisticated tradition of representing other subjects. The two main traditions spring from Western painting and Chinese art, going well over a thousand years in both cases. Landscape views in art may be imaginary, or copied from reality with varying degrees of accuracy. If the primary purpose of a picture is to depict an actual, specific place, especially including buildings prominently, within a few decades it was used to describe vistas in poetry, and eventually as a term for real views. However the cognate term landscaef or landskipe for a patch of land had existed in Old English. The earliest pure landscapes with no figures are frescos from Minoan Greece of around 1500 BCE. The frescos from the Tomb of Nebamun, now in the British Museum, are a famous example. These were frequently used, as in the illustrated, to bridge the gap between a foreground scene with figures and a distant panoramic vista, a persistent problem for landscape artists. The Chinese style generally showed only a distant view, or used dead ground or mist to avoid that difficulty, aesthetic theories in both regions gave the highest status to the works seen to require the most imagination from the artist. They were often also poets whose lines and images illustrated each other, a revival in interest in nature initially mainly manifested itself in depictions of small gardens such as the Hortus Conclusus or those in millefleur tapestries. The frescos of figures at work or play in front of a background of trees in the Palace of the Popes. Several frescos of gardens have survived from Roman houses like the Villa of Livia, a particular advance is shown in the less well-known Turin-Milan Hours, now largely destroyed by fire, whose developments were reflected in Early Netherlandish painting for the rest of the century. Landscape backgrounds for various types of painting became prominent and skilful during the 15th century. The Italian development of a system of graphical perspective was now known all over Europe. Indeed, certain styles were so popular that they became formulas that could be copied again and again, after the publication of the Small Landscapes, landscape artists in the Low Countries either continued with the world landscape or followed the new mode presented by the Small Landscapes. The popularity of landscape scenes can be seen in the success of the painter Frans Post. Salvator Rosa gave picturesque excitement to his landscapes by showing wilder Southern Italian country, there are different styles and periods, and subgenres of marine and animal painting, as well as a distinct style of Italianate landscape
9.
Henri Biva
–
Henri Biva was a French artist, known for his landscape paintings and still lifes. He focused primarily on the suburbs of Paris, painting outdoors in the plein-air tradition. Bivas pictures are characterized by strokes and a pure palette bathed with warm natural light. The artist was a member of the Société des Artistes Français, Henri Biva was born in Montmartre at 18 rue du Vieux Chemin de Paris. His official date of birth is 23 January 1848 and he grew up in an artistic environment, both within his own family and in the neighborhood in which he lived. His younger brother Paul Biva also became a painter, as would Henri Bivas son Lucien Biva, in 1873 Biva studied at the École des Beaux-Arts in Paris, where many famous artists in Europe were trained. His teachers included Léon Tanzi, an esteemed Realist painter, a trace of both instructors can be contemplated in Bivas work. These combined influences explain the skillfully controlled artistry of Henri Biva, shortly thereafter, during the latter half of the 1870s, Henri Biva began showing his works in the Parisian salons, while enjoying sufficient commercial success to make his living. At the Salon de 1879 Biva exhibited two paintings, Les roses du parc and Pavillon dété du Chateau de Villeneuve-lÉtang, numbers 293 and 294 in the catalogue. Unlike contemporaries such as Pissarro or Monet, Bivas landscapes suggest a time before industrialization when no railroad or factory disrupted rural vistas, rather, these images show no evidence of human activity at all except for the occasional fisherman drowsing by the riverside. Three years later, in 1895, he received a class medal, and in 1896. With this third award in place, he was no longer obligated to submit his work to the jury for acceptance. The turn of the century brought Biva continued success and public renown and his landscapes and flower paintings, still widely sought after by art collectors, gradually evolved into more meditative images. In 1886 Biva exhibited three works, including Une rue de Ville-dAvray, La Nuit, at the Exposition Internationale de Blanc et Noir. Bivas was awarded the Médaille de bronze at the Exposition Universelle, inviting the attention of the Purchasing Committee and this honorable accomplishment appears to have stimulated further commercial success in the years leading up to World War I. Following the war years, Bivas sales rebounded as he continued exhibiting paintings throughout the 1920s, Biva exhibited his painting in the Salons des Artistes Francais, Paris, in 1900,1903,1904 and 1905. In 1923 Henri Biva was elected vice-president of the Salon dHiver, founded in 1897, Biva continued to show regularly in Paris, with a conspicuous break during World War I. According to his certificate, Biva died 2 February 1929 at his home in Paris,72 rue du Château-dEau
10.
National Horticultural Society of France
–
The National Horticultural Society of France is a horticultural society founded in 1827 by Louis-Étienne Héricart de Thury. Headquartered in Paris, it comprises specialized departments which organize conferences, themed journeys and garden visits, the Société d’Horticulture de Paris was founded on 11 June 1827 on the initiative of Vicomte Héricart de Thury to unite enthusiasts who wanted to exchange ideas and cultivate exotic species. In 1835 the organization received royal recognition and became the Société Royale d’Horticulture, a second, similar organizations was formed, and was named Société Nationale d’Horticulture de la Seine. The SNHF maintains a library and documentation center which in 2009 contained over 10,000 documents, in addition it holds 1,102 periodicals and 2,492 horticultural catalogs. The SNHF also publishes a journal, Jardins de France, the SNHF unites more than 220 horticultural societies and associations from all over France
11.
Alsace
–
Alsace is a cultural and historical region in eastern France now located in the administrative region of Grand Est. Alsace is located on Frances eastern border and on the west bank of the upper Rhine adjacent to Germany, from 1982 until January 2016, Alsace was the smallest of 22 administrative regions in metropolitan France, consisting of the Bas-Rhin and Haut-Rhin departments. Territorial reform passed by the French legislature in 2014 resulted in the merger of the Alsace administrative region with Champagne-Ardenne and Lorraine to form Grand Est. The predominant historical language of Alsace is Alsatian, a Germanic dialect also spoken across the Rhine, but today most Alsatians primarily speak French, the political status of Alsace has been heavily influenced by historical decisions, wars, and strategic politics. The economic and cultural capital as well as largest city of Alsace is Strasbourg, the city is the seat of several international organizations and bodies. The name Alsace can be traced to the Old High German Ali-saz or Elisaz, an alternative explanation is from a Germanic Ell-sass, meaning seated on the Ill, a river in Alsace. In prehistoric times, Alsace was inhabited by nomadic hunters, by 1500 BC, Celts began to settle in Alsace, clearing and cultivating the land. It should be noted that Alsace is a surrounded by the Vosges mountains. It creates Foehn winds which, along with irrigation, contributes to the fertility of the soil. In a world of agriculture, Alsace has always been a region which explains why it suffered so many invasions and annexations in its history. By 58 BC, the Romans had invaded and established Alsace as a center of viticulture, to protect this highly valued industry, the Romans built fortifications and military camps that evolved into various communities which have been inhabited continuously to the present day. While part of the Roman Empire, Alsace was part of Germania Superior, with the decline of the Roman Empire, Alsace became the territory of the Germanic Alemanni. The Alemanni were agricultural people, and their Germanic language formed the basis of modern-day dialects spoken along the Upper Rhine, Clovis and the Franks defeated the Alemanni during the 5th century AD, culminating with the Battle of Tolbiac, and Alsace became part of the Kingdom of Austrasia. Under Clovis Merovingian successors the inhabitants were Christianized, Alsace formed part of the Middle Francia, which was ruled by the eldest grandson Lothar I. Lothar died early in 855 and his realm was divided into three parts, the part known as Lotharingia, or Lorraine, was given to Lothars son. The rest was shared between Lothars brothers Charles the Bald and Louis the German, the Kingdom of Lotharingia was short-lived, however, becoming the stem duchy of Lorraine in Eastern Francia after the Treaty of Ribemont in 880. Alsace was united with the other Alemanni east of the Rhine into the duchy of Swabia. Alsace experienced great prosperity during the 12th and 13th centuries under Hohenstaufen emperors, Frederick I set up Alsace as a province to be ruled by ministeriales, a non-noble class of civil servants
12.
Grisons
–
Grisons is the largest and easternmost canton of Switzerland. The canton shares borders with the cantons of Ticino, Uri, Glarus and St. Gallen and international borders with Italy, Austria and Liechtenstein. The name Graubünden translates as the Grey Leagues, referring to the origin in three local alliances, the League of Gods House, the Grey League, and the League of the Ten Jurisdictions. Grisons is also home to three of Switzerlands ethnic groups and the subsequent languages of Swiss German, Italian and Romansh are all native to the canton and it is the only officially trilingual canton and the only canton where the Romansh language has official status. Area-wise Grisons is Switzerlands largest canton at 7,105.2 square kilometres,19. 2% larger than the Canton of Bern, only about a third of this is commonly regarded as productive land of which forests cover about a fifth of the total area. The canton is entirely mountainous, comprising the highlands of the Rhine, in its southeastern part lies the only official Swiss National Park. In its northern part the mountains were formed as part of the thrust fault that was declared a geologic UNESCO World Heritage Site, under the name Swiss Tectonic Arena Sardona, in 2008. Another Biosphere Reserve is the Biosfera Val Müstair adjacent to the Swiss National Park whereas Ela Nature Park is one of the regionally supported parks. Elevations in the Grison Alps include Tödi, at 3,614 metres, many of the mountain ranges feature extensive glaciers, such as at the Adula, the Albula, the Silvretta, the Bernina, the Bregaglia and the Rätikon ranges. The mountain ranges in the area are very deep, some being considered the deepest valleys in Europe. These valleys were settled by the Raetians. Grisons borders on the cantons of St. Gallen to the northwest, Glarus, Uri to the west and it also shares international borders with Italy, Austria and Liechtenstein. The inhabitants of Grisons are called Bündner or Grisonians, most of the lands of the canton were once part of a Roman province called Raetia which was established in 15 BC. The current capital of Grisons, Chur, was known as Curia in Roman times, the area later was part of the lands of the diocese at Chur. In 1367 the League of Gods House was founded to resist the power of the Bishop of Chur. This was followed by the establishment of the Grey League, sometimes called Oberbund, the name Grey League is derived from the homespun grey clothes worn by the people and was used exclusively after 16 March 1424. The name of this later gave its name to the canton of Grisons. A third league was established in 1436 by the people of ten bailiwicks in the former Toggenburg countship, the league was called League of the Ten Jurisdictions
13.
Salon (Paris)
–
The Salon, or rarely Paris Salon, beginning in 1667 was the official art exhibition of the Académie des Beaux-Arts in Paris. Between 1748 and 1890 it was arguably the greatest annual or biennial art event in the Western world, at the 1761 Salon, thirty-three painters, nine sculptors, and eleven engravers contributed. From 1881 onward, it has been managed by the Société des Artistes Français, in 1667, the royally sanctioned French institution of art patronage, the Académie royale de peinture et de sculpture, held its first semi-public art exhibit at the Salon Carré. The Salons original focus was the display of the work of recent graduates of the École des Beaux-Arts, exhibition at the Salon de Paris was essential for any artist to achieve success in France for at least the next 200 years. Exhibition in the Salon marked a sign of royal favor, in 1725, the Salon was held in the Palace of the Louvre, when it became known as Salon or Salon de Paris. In 1737, the exhibitions, held from 18 August 1737 to 5 September 1737 at the Grand Salon of the Louvre and they were held, at first, annually, and then biennially, in odd-numbered years. They would start on the feast day of St. Louis, once made regular and public, the Salons status was never seriously in doubt. In 1748 a jury of awarded artists was introduced, from this time forward, the influence of the Salon was undisputed. The Salon exhibited paintings floor-to-ceiling and on every inch of space. The jostling of artwork became the subject of other paintings. Printed catalogues of the Salons are primary documents for art historians, critical descriptions of the exhibitions published in the gazettes mark the beginning of the modern occupation of art critic. The French revolution opened the exhibition to foreign artists, the vernissage of opening night was a grand social occasion, and a crush that gave subject matter to newspaper caricaturists like Honoré Daumier. Charles Baudelaire, Denis Diderot and others wrote reviews of the Salons, the 1848 revolution liberalized the Salon. The amount of refused works was greatly reduced, the increasingly conservative and academic juries were not receptive to the Impressionist painters, whose works were usually rejected, or poorly placed if accepted. The Salon opposed the Impressionists shift away from traditional painting styles, in 1863 the Salon jury turned away an unusually high number of the submitted paintings. An uproar resulted, particularly from regular exhibitors who had been rejected, in order to prove that the Salons were democratic, Napoleon III instituted the Salon des Refusés, containing a selection of the works that the Salon had rejected that year. It opened on 17 May 1863, marking the birth of the avant-garde, the Impressionists held their own independent exhibitions in 1874,1876,1877,1879,1880,1881,1882 and 1886. In 1881, the government withdrew official sponsorship from the annual Salon, in December 1890, the leader of the Société des Artistes Français, William-Adolphe Bouguereau, propagated the idea that Salon should be an exhibition of young, not-yet awarded, artists
14.
Alphonse James de Rothschild
–
Mayer Alphonse James Rothschild, was a French financier, vineyard owner, art collector, philanthropist, racehorse owner/breeder and a member of the prominent Rothschild banking family of France. Known as Alphonse, he was the eldest son of James Mayer de Rothschild and his mother was Betty de Rothschild, the daughter of Salomon Mayer von Rothschild from the Austrian branch of the family. Alphonse was educated to take his place at the head of de Rothschild Frères bank, in France he soon became a major force in the financial world and in 1855 was appointed a regent of the Banque de France, a position he held for the remainder of his life. In 1857 Alphonse de Rothschild married a cousin, Leonora Laure de Rothschild and their firstborn, Bettina Caroline, married Albert Salomon von Rothschild. Alphonse and his brother Gustave developed somewhat of a rivalry with their English cousin Nathaniel de Rothschild who had moved to Paris after marrying their sister Charlotte. Nathaniel worked at de Rothschild Frères bank and in 1853 he purchased the Château Brane Mouton vineyard in Pauillac in the Médoc wine growing region, nathaniels Mouton vineyard received a second-growth ranking in the Bordeaux Wine Official Classification of 1855. Just three months before their father died in 1868, Alphonse and Gustave convinced him to buy the more prestigious First Growth Château Lafite vineyard in Pauillac when it came up for sale, on the death of their father in 1868, Alphonse and Gustave inherited the Château Lafite-Rothschild vineyard. However, they lived in Paris and the vineyard was not significant relative to their investments in banking. As such, they visited the Pauillac vineyard occasionally, maintaining little more than an arms-length interest. On their deaths, the Rothschild brothers willed the property to a son, Alphonse de Rothschild inherited a large fortune on the death of his father in 1868, including share positions in de Rothschild Frères bank and the Northern Railway company. He began his training in finance at an age and his father put him in charge of the banks gold bullion operations. During the 1860s, great debates raged across Europe and the United States as to a monetary system for the changing times. In France, the prominent Péreire brothers bankers were proponents of paper money in contrast to Alphonse de Rothschild who defended preservation of Frances bimetallism system, however, as part of the Latin Monetary Union France joined most of the rest of Europe and adopted the gold standard by 1873. In 1880, Alphonse de Rothschild put together the deal saw the family take control of Société Le Nickel. During the Franco-Prussian War, Alphonse de Rothschild had guarded the ramparts of Paris on the eve of the Prussian siege, in contrast though, that same year, both the Berlin and Vienna stock markets crashed, plunging all of Central Europe into an economic depression. However, in less than a decade Alphonse de Rothschild would witness considerable economic upheaval in France, the collapse of the investment bank Société de lUnion Générale precipitated the 1882 stock market crash that triggered a downturn in the economy. His intense pressure pushed back the project of the décret Crémieux filed by the chief of the provisional government. Alphonse de Rothschild was a supporter of thoroughbred horse racing who in 1852 at the age of twenty-four became a member of the Paris Jockey Club
15.
Fine art
–
Historically, the five main fine arts were painting, sculpture, architecture, music and poetry, with performing arts including theatre and dance. Today, the fine arts commonly include additional forms, such as film, photography, video production/editing, design, sequential art, conceptual art, and printmaking. However, in some institutes of learning or in museums, fine art, in that sense, there are conceptual differences between the fine arts and the applied arts. The word fine does not so much denote the quality of the artwork in question and this definition originally excluded the applied or decorative arts, and the products of what were regarded as crafts. According to some writers the concept of a category of fine art is an invention of the early modern period in the West. Larry Shiner in his The Invention of Art, A Cultural History locates the invention in the 18th century, There was a traditional “system of the arts” in the West before the eighteenth century. ”Similar ideas have been expressed by Paul Oskar Kristeller, Pierre Bourdieu, and Terry Eagleton, though the point of invention is often placed earlier, in the Italian Renaissance. The separation of arts and crafts that often exists in Europe, in Japanese aesthetics the activities of everyday life are depicted by integrating not only art with craft but man-made with nature. Traditional Chinese art distinguished within Chinese painting between the mostly landscape painting of scholar gentlemen and the artisans of the schools of court painting. A high status was given to many things that would be seen as craft objects in the West, in particular ceramics, jade carving, weaving. Drawing is a form of expression and is one of the major forms of the visual arts. Common instruments include graphite pencils, pen and ink, inked brushes, wax color pencils, crayons, charcoals, chalk, pastels, markers, stylus, There are a number of subcategories of drawing, including cartooning. Mosaics are images formed with pieces of stone or glass. They can be decorative or functional, an artist who designs and makes mosaics is called a mosaic artist or a mosaicist. Printmaking is the process of making artworks by printing, normally on paper, except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each print is considered an original, as opposed to a copy, the reasoning behind this is that the print is not a reproduction of another work of art in a different medium — for instance, a painting — but rather an image designed from inception as a print. An individual print is also referred to as an impression, prints are created from a single original surface, known technically as a matrix. But there are other kinds, discussed below. Multiple nearly identical prints can be called an edition, in modern times each print is often signed and numbered forming a limited edition
16.
En plein air
–
En plein air, or plein air painting, is a phrase borrowed from the French equivalent meaning open air. It is particularly used to describe the act of painting outdoors, also called French, peinture sur le motif and this method contrasts with studio painting or academic rules, those might create a predetermined look. En plein air can also be used to other activities where a person partakes in an outdoor environment. Artists have long painted outdoors, but in the century, working in natural light became particularly important to the Barbizon school, Hudson River School. The Newlyn School in England is considered another major proponent of the technique in the latter 19th century, the popularity of painting en plein air increased in the 1840s with the introduction of paints in tubes. Previously, painters made their own paints by grinding and mixing dry pigment powders with linseed oil, the act of outdoor painting from observation has been continually popular well into the 21st century. It was during the century that the box easel, typically known as the French box easel or field easel, was invented. It is uncertain who developed it, but these highly portable easels with telescopic legs and built-in paint box and palette made it easier to go into the forest and up the hillsides. Still made today, they remain a popular choice since they fold up to the size of a brief case and thus are easy to store. The Pochade Box is a box that allows the artist to keep all of their supplies. Some designs allow for a canvas which can be held by clamps built into the lid. There are designs which can hold a few wet painting canvases or panels within the lid. These boxes have a rising popularity as while they are used for plein air painting, can also be used in the studio, home. Since pochade boxes are used for painting on location, the canvas or work surface may be small. Challenges include the type of paint used to paint outdoors, animals, bugs, onlookers, acrylic paint may harden and dry quickly in warm, sunny weather and it cannot be reused. On the opposite side of the spectrum is the challenge of painting in moist or damp conditions with precipitation, the advent of plein air painting predated the invention of acrylics. The traditional and well-established method of painting en plein air incorporates the use of oil paint, but enthusiasts of plein air painting were not limited to the Old World. American impressionists too, such as those of the Old Lyme school, were avid painters en plein air, american impressionist painters noted for this style during this era included Guy Rose, Robert William Wood, Mary DeNeale Morgan, John Gamble, and Arthur Hill Gilbert
17.
Jean-Baptiste-Camille Corot
–
Jean-Baptiste-Camille Corot was a French landscape and portrait painter as well as a printmaker in etching. He is a figure in landscape painting and his vast output simultaneously references the Neo-Classical tradition. Jean-Baptiste-Camille Corot was born in Paris on July 16,1796, in a house at 125 Rue du Bac, now demolished. After his parents married, they bought the shop where his mother had worked. The store was a destination for fashionable Parisians and earned the family an excellent income. Corot was the second of three born to the family, who lived above their shop during those years. Corot received a scholarship to study at the Lycée Pierre-Corneille in Rouen and he was not a brilliant student, and throughout his entire school career he did not get a single nomination for a prize, not even for the drawing classes. Unlike many masters who demonstrated early talent and inclinations toward art, during those years he lived with the Sennegon family, whose patriarch was a friend of Corots father and who spent much time with young Corot on nature walks. It was in this region that Corot made his first paintings after nature, at nineteen, Corot was a big child, shy and awkward. Before the beautiful ladies who frequented his mothers salon, he was embarrassed and fled like a wild thing, emotionally, he was an affectionate and well-behaved son, who adored his mother and trembled when his father spoke. When Corots parents moved into a new residence in 1817, the 21-year-old Corot moved into the room on the third floor. Later Corot stated, I told my father that business and I were simply incompatible, the business experience proved beneficial, however, by helping him develop an aesthetic sense through his exposure to the colors and textures of the fabrics. Perhaps out of boredom, he turned to oil painting around 1821 and he immediately rented a studio on quai Voltaire. In both approaches, landscape artists would typically begin with outdoor sketching and preliminary painting, with finishing work done indoors, michallon had a great influence on Corots career. Though this school was on the decline, it held sway in the Salon. Corot later stated, I made my first landscape from nature. under the eye of this painter, the lesson worked, since then I have always treasured precision. Though holding Neoclassicists in the highest regard, Corot did not limit his training to their tradition of allegory set in imagined nature and his notebooks reveal precise renderings of tree trunks, rocks, and plants which show the influence of Northern realism. Throughout his career, Corot demonstrated an inclination to apply both traditions in his work, sometimes combining the two, a condition by his parents before leaving was that he paint a self-portrait for them, his first
18.
William-Adolphe Bouguereau
–
William-Adolphe Bouguereau was a French academic painter and traditionalist. In his realistic genre paintings he used mythological themes, making modern interpretations of classical subjects, during his life he enjoyed significant popularity in France and the United States, was given numerous official honors, and received top prices for his work. As the quintessential salon painter of his generation, he was reviled by the Impressionist avant-garde, by the early twentieth century, Bouguereau and his art fell out of favor with the public, due in part to changing tastes. In the 1980s, a revival of interest in figure painting led to a rediscovery of Bouguereau, throughout the course of his life, Bouguereau executed 822 known finished paintings, although the whereabouts of many are still unknown. William-Adolphe Bouguereau was born in La Rochelle, France, on November 30,1825, into a family of wine, the son of Théodore Bouguereau and Marie Bonnin, known as Adeline, William was brought up a Catholic. He had a brother, Alfred, and a younger sister, Marie. The family moved to Saint-Martin-de-Ré in 1832, another sibling was born in 1834, Kitty. At 12 the boy went to Mortagne to stay with his uncle Eugène, a priest, in 1839 he was sent to study the priesthood at a Catholic college in Pons. Here he was taught to draw and paint by Louis Sage who had studied under Ingres, William reluctantly left his studies to return to his family, now residing in Bordeaux. Here the boy met a local artist, Charles Marionneau, William also worked as a shop assistant, hand-colouring lithographs and making small paintings that were reproduced using chromolithography. He was soon the best pupil in his class and decided to become an artist in Paris, to fund the move, he sold portraits -33 oils in three months. All were unsigned and only one has been traced and he arrived in Paris aged 20 in March 1846. Bouguereau became a student at the École des Beaux-Arts, to supplement his formal training in drawing, he attended anatomical dissections and studied historical costumes and archeology. He was admitted to the studio of François-Édouard Picot, where he studied painting in the academic style and he also studied classical literature, which influenced his subject choice for the rest of his career. In April 1848 the young artist entered the Prix de Rome contest, soon after work began there were riots in Paris and Bouguereau enrolled in the National Guard. After an unsuccessful attempt to win the prize, he entered again in 1849, following 106 days of competition he again failed to win. His third attempt commenced in April 1850 and five months later he heard he had won a joint first prize, along with other category winners, William set off for Rome in December and finally arrived at the Villa Medici in January 1851. He explored the city, making sketches and watercolours as he went and he walked to Naples and on to Capri, Amalfi and Pompeii
19.
Lucien Biva
–
Lucien Felix Biva was a French–American artist. He studied painting early on with his father, the Naturalist painter Henri Biva and he was also the nephew of the painter Paul Biva. He was a member of the Society of French Artists and the Society of Independent Artists, Lucien Biva first studied under his father, then enrolled at the École nationale supérieure des arts décoratifs, and the École nationale supérieure des beaux-arts of Paris. At this time his professors included the poster designer Eugène Grasset and his education formed him as a painter but also as an interior designer and decorator. He exhibited for the first time at the Salon des artistes français in 1902, with an entry titled Derniers rayons à Villeneuve-l’Étang, other exhibition venues that saw his participation during this period included Salon des Indépendants in 1909. During the month of August 1919, Lucien Biva left Le Havre aboard the transatlantic oceanliner Le Rochambeau, on the first of September he debarked in New York City where he would reside throughout the rest of his career. Various reasons impelled Lucien Biva to emigrate to the United States and his father was a well-known painter, and it may have be difficult for Lucien Biva to make a name for himself without being linked to the work of his father. In the press chroniclers speak of the Bivas assimilating the son behind the father, Lucien Bivas family nicknamed him the anarchist, perhaps because he rejected part of the family pictorial legacy. It may be noted that the statement of the chronicler was somewhat tinged with irony, other family reasons probably contributed to his departure for the States in 1919, at the age of 41. World War I had just ended, but his brother, jewelry designer Marius Biva, also formed at the École nationale supérieure des arts décoratifs. Lucien Biva became an American citizen in 1928, residing mostly in New York City, Brooklyn, Queens, White Plains and he painted and exhibited throughout the second leg of his career in the United States. The early works of Lucien Biva are often difficult to distinguish from those of his father Henri Biva, but when he left France in 1919, other artistic influences infused his style—Les Nabis, Art Nouveau and Fauvism—influences left over from his associations with artists at the Salon des Indépendants. With realism in his past, Bivas new work consisted of colorful landscapes and he died in New York, aged 87. Biva,7 January 1941 Official Gazette of the United States Patent Office, Volume 522, Lucien Biva, The Office, Pennsylvania State University,1941 Dec.2,1941, filed Oct.28,1941 Dec.2,1941
20.
Barbezieux-Saint-Hilaire
–
Barbezieux-Saint-Hilaire is a commune in the Charente department in southwestern France. The commune of Barbezieux, with the village of St Hilaire. Barbezieux is a hill town on the historic route south west from Paris – Poitiers to Bordeaux – Spain, now served by the N10. The town rises from narrow streets of unspoilt, typically Charentaise buildings to the medieval chateau, barbezieux-Saint-Hilarie is the birthplace of world-record breaker pole vaulter Renaud Lavillenie. Barbezieux is a centre for touring the South Charente and also a drive from the coast. For tourists and cyclists following the Chemin de St Jacques to Compostella, the main church of Barbezieux, St Mathias, was built in the twelfth century and is one of the largest in the Diocese of Angoulême. Entering the church, there is the statue of St Mathias, at one time, the Apostles head is said to have been kept in the church. The church has been altered over the centuries and had major restoration in the 1970s and it is a fine example of a Romanesque church, well used by the community. Communes of the Charente department INSEE
21.
Charente
–
Charente is one of the original 83 departments created during the French Revolution on 4 March 1790. It was created from the province of Angoumois, west. Prior to the creation of the department, the area was not a natural unit, the accelerating pace of industrial and commercial development during the first half of the nineteenth century led to a period of prosperity, and the departments population peaked in 1851. Economic ruin came to many in the Charentais wine industry with the arrival in 1872 of phylloxera, the relatively relaxed pace of economic development in the twentieth century encouraged the immigration of retirees from overseas. It is part of the Aquitaine Basin for its major part, the Charente flows through it and gave its name to the department, along with Charente-Maritime. It is composed with the region of Angoumois and contains part of the regions of Saintonge, Limousin, Périgord. The department is part of the current region of Nouvelle-Aquitaine and it is surrounded by the departments of Charente-Maritime, Dordogne, Haute-Vienne, Vienne and Deux-Sèvres. The inhabitants of the department are called Charentais, the President of the General Council is Michel Boutant of the Socialist Party. Cognac and pineau are two of the agricultural products of the region, along with butter. The Charentaise slipper is another traditional product. Cantons of the Charente department Communes of the Charente department Arrondissements of the Charente department Charente
22.
Roanne
–
Roanne is a commune in the Loire department in central France. It is located 90 km northwest of Lyon on the Loire River and it has an important Museum, the Musée de Beaux-arts et dArchéologie Joseph Déchelette, with many Egyptian artifacts. Roanne is known for gastronomy, textiles, agriculture and manufacturing tanks, the toponomy is Gaulish, Rod-Onna which became Rodumna, then Rouhanne and Roanne. The town was sited at a point, the head of navigation on the Loire. As a trans-shipping point, its importance declined with the collapse of trade after the fourth century. In the twelfth century, the passed to the comte du Forez. Sturdy goods were rafted downriver on sapinières that were dismantled after use, Roanne was one of the first towns served by railroad, with the opening,15 March 1833, of the terminal on the right bank at the port of Varennes of the third line, from Andrézieux. Following came the opening of the canal from Roanne to Digoin, in 1917 the arsenal was established at Roanne, and from 1940 a new industry developed, producing rayon and other new fibers. In the post-industrial phase that set in during the 1970s, Roanne struggled to find new industry, the 18th-century actor, playwright and revolutionary Antoine Dorfeuille was murdered in Roanne. The city is home to Chorale Roanne Basket, two-time champion of Frances top basketball league LNB Pro A, the team plays its home games at the Halle André Vacheresse. The Wheels of Commerce, vol. II of Civilization and Capitalism p.360, media related to Roanne at Wikimedia Commons Official website
23.
Isdes, Loiret
–
Isdes is a commune in the Loiret department in north-central France. Its population was 585 in 2006 and it has an area of 43.89 km² and it lies at an altitude 149 m above sea level. In 2007 Isdes was recognized as a Village Fleuri, for its outstanding decor of flora, the church of Notre Dame dIsdes, built between the 11th and 13th century, lies inside the village. The commune is home to the Sainte Claire manor, built in 1865. Isdes is twined with the village of Lužice in Czech Republic, communes of the Loiret department - Official Site
24.
International Standard Serial Number
–
An International Standard Serial Number is an eight-digit serial number used to uniquely identify a serial publication. The ISSN is especially helpful in distinguishing between serials with the same title, ISSN are used in ordering, cataloging, interlibrary loans, and other practices in connection with serial literature. The ISSN system was first drafted as an International Organization for Standardization international standard in 1971, ISO subcommittee TC 46/SC9 is responsible for maintaining the standard. When a serial with the content is published in more than one media type. For example, many serials are published both in print and electronic media, the ISSN system refers to these types as print ISSN and electronic ISSN, respectively. The format of the ISSN is an eight digit code, divided by a hyphen into two four-digit numbers, as an integer number, it can be represented by the first seven digits. The last code digit, which may be 0-9 or an X, is a check digit. Formally, the form of the ISSN code can be expressed as follows, NNNN-NNNC where N is in the set, a digit character. The ISSN of the journal Hearing Research, for example, is 0378-5955, where the final 5 is the check digit, for calculations, an upper case X in the check digit position indicates a check digit of 10. To confirm the check digit, calculate the sum of all eight digits of the ISSN multiplied by its position in the number, the modulus 11 of the sum must be 0. There is an online ISSN checker that can validate an ISSN, ISSN codes are assigned by a network of ISSN National Centres, usually located at national libraries and coordinated by the ISSN International Centre based in Paris. The International Centre is an organization created in 1974 through an agreement between UNESCO and the French government. The International Centre maintains a database of all ISSNs assigned worldwide, at the end of 2016, the ISSN Register contained records for 1,943,572 items. ISSN and ISBN codes are similar in concept, where ISBNs are assigned to individual books, an ISBN might be assigned for particular issues of a serial, in addition to the ISSN code for the serial as a whole. An ISSN, unlike the ISBN code, is an identifier associated with a serial title. For this reason a new ISSN is assigned to a serial each time it undergoes a major title change, separate ISSNs are needed for serials in different media. Thus, the print and electronic versions of a serial need separate ISSNs. Also, a CD-ROM version and a web version of a serial require different ISSNs since two different media are involved, however, the same ISSN can be used for different file formats of the same online serial
25.
International Standard Book Number
–
The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
26.
Wayback Machine
–
The Internet Archive launched the Wayback Machine in October 2001. It was set up by Brewster Kahle and Bruce Gilliat, and is maintained with content from Alexa Internet, the service enables users to see archived versions of web pages across time, which the archive calls a three dimensional index. Since 1996, the Wayback Machine has been archiving cached pages of websites onto its large cluster of Linux nodes and it revisits sites every few weeks or months and archives a new version. Sites can also be captured on the fly by visitors who enter the sites URL into a search box, the intent is to capture and archive content that otherwise would be lost whenever a site is changed or closed down. The overall vision of the machines creators is to archive the entire Internet, the name Wayback Machine was chosen as a reference to the WABAC machine, a time-traveling device used by the characters Mr. Peabody and Sherman in The Rocky and Bullwinkle Show, an animated cartoon. These crawlers also respect the robots exclusion standard for websites whose owners opt for them not to appear in search results or be cached, to overcome inconsistencies in partially cached websites, Archive-It. Information had been kept on digital tape for five years, with Kahle occasionally allowing researchers, when the archive reached its fifth anniversary, it was unveiled and opened to the public in a ceremony at the University of California, Berkeley. Snapshots usually become more than six months after they are archived or, in some cases, even later. The frequency of snapshots is variable, so not all tracked website updates are recorded, Sometimes there are intervals of several weeks or years between snapshots. After August 2008 sites had to be listed on the Open Directory in order to be included. As of 2009, the Wayback Machine contained approximately three petabytes of data and was growing at a rate of 100 terabytes each month, the growth rate reported in 2003 was 12 terabytes/month, the data is stored on PetaBox rack systems manufactured by Capricorn Technologies. In 2009, the Internet Archive migrated its customized storage architecture to Sun Open Storage, in 2011 a new, improved version of the Wayback Machine, with an updated interface and fresher index of archived content, was made available for public testing. The index driving the classic Wayback Machine only has a bit of material past 2008. In January 2013, the company announced a ground-breaking milestone of 240 billion URLs, in October 2013, the company announced the Save a Page feature which allows any Internet user to archive the contents of a URL. This became a threat of abuse by the service for hosting malicious binaries, as of December 2014, the Wayback Machine contained almost nine petabytes of data and was growing at a rate of about 20 terabytes each week. Between October 2013 and March 2015 the websites global Alexa rank changed from 162 to 208, in a 2009 case, Netbula, LLC v. Chordiant Software Inc. defendant Chordiant filed a motion to compel Netbula to disable the robots. Netbula objected to the motion on the ground that defendants were asking to alter Netbulas website, in an October 2004 case, Telewizja Polska USA, Inc. v. Echostar Satellite, No.02 C3293,65 Fed. 673, a litigant attempted to use the Wayback Machine archives as a source of admissible evidence, Telewizja Polska is the provider of TVP Polonia and EchoStar operates the Dish Network
27.
Netherlands Institute for Art History
–
The Netherlands Institute for Art History or RKD is located in The Hague and is home to the largest art history center in the world. The center specializes in documentation, archives, and books on Western art from the late Middle Ages until modern times, all of this is open to the public, and much of it has been digitized and is available on their website. The main goal of the bureau is to collect, categorize, via the available databases, the visitor can gain insight into archival evidence on the lives of many artists of past centuries. The library owns approximately 450,000 titles, of which ca.150,000 are auction catalogs, there are ca.3,000 magazines, of which 600 are currently running subscriptions. Though most of the text is in Dutch, the record format includes a link to library entries and images of known works. The RKD also manages the Dutch version of the Art and Architecture Thesaurus, the original version is an initiative of the Getty Research Institute in Los Angeles, California. Their bequest formed the basis for both the art collection and the library, which is now housed in the Koninklijke Bibliotheek. Though not all of the holdings have been digitised, much of its metadata is accessible online. The website itself is available in both a Dutch and an English user interface, in the artist database RKDartists, each artist is assigned a record number. To reference an artist page directly, use the code listed at the bottom of the record, usually of the form, https, for example, the artist record number for Salvador Dalí is 19752, so his RKD artist page can be referenced. In the images database RKDimages, each artwork is assigned a record number, to reference an artwork page directly, use the code listed at the bottom of the record, usually of the form, https, //rkd. nl/en/explore/images/ followed by the artworks record number. For example, the record number for The Night Watch is 3063. The Art and Architecture Thesaurus also assigns a record for each term, rather, they are used in the databases and the databases can be searched for terms. For example, the painting called The Night Watch is a militia painting, the thesaurus is a set of general terms, but the RKD also contains a database for an alternate form of describing artworks, that today is mostly filled with biblical references. To see all images that depict Miriams dance, the associated iconclass code 71E1232 can be used as a search term. Official website Direct link to the databases The Dutch version of the Art and Architecture Thesaurus
28.
Virtual International Authority File
–
The Virtual International Authority File is an international authority file. It is a joint project of national libraries and operated by the Online Computer Library Center. The project was initiated by the US Library of Congress, the German National Library, the National Library of France joined the project on October 5,2007. The project transitions to a service of the OCLC on April 4,2012, the aim is to link the national authority files to a single virtual authority file. In this file, identical records from the different data sets are linked together, a VIAF record receives a standard data number, contains the primary see and see also records from the original records, and refers to the original authority records. The data are available online and are available for research and data exchange. Reciprocal updating uses the Open Archives Initiative Protocol for Metadata Harvesting protocol, the file numbers are also being added to Wikipedia biographical articles and are incorporated into Wikidata. VIAFs clustering algorithm is run every month, as more data are added from participating libraries, clusters of authority records may coalesce or split, leading to some fluctuation in the VIAF identifier of certain authority records
,_oil_on_canvas,_73.1_x_92.6_cm.jpg)
,_oil_on_canvas,_78_x_52.5_cm.jpg)
