1.
Aix-en-Provence
–
Aix-en-Provence, or simply Aix, is a city-commune in the south of France, about 30 km north of Marseille. It is in the region of Provence-Alpes-Côte dAzur, in the department of Bouches-du-Rhône, the population of Aix numbers approximately 143,000. Its inhabitants are called Aixois or, less commonly, Aquisextains, Aix was founded in 123 BC by the Roman consul Sextius Calvinus, who gave his name to its springs, following the destruction of the nearby Gallic oppidum at Entremont. In the 4th century AD it became the metropolis of Narbonensis Secunda and it was occupied by the Visigoths in 477. In the succeeding century, the town was plundered by the Franks and Lombards. Aix passed to the crown of France with the rest of Provence in 1487, and in 1501 Louis XII established there the parliament of Provence, in the 17th and 18th centuries, the town was the seat of the Intendance of Provence. Current archeological excavations in the Ville des Tours, a suburb of Aix, have unearthed the remains of a Roman amphitheatre. The city slopes gently north to south and the Montagne Sainte-Victoire can easily be seen to the east. Aixs position in the south of France gives it a warm climate and it has an average January temperature of 5 °C and a July average of 23 °C. It has an average of 300 days of sunshine and only 91 days of rain, while it is partially protected from the Mistral, Aix still occasionally experiences the cooler and gusty conditions it brings. Unlike most of France which has a climate, Aix-en-Provence has a Mediterranean climate. The Cours Mirabeau is a thoroughfare, planted with double rows of plane-trees, bordered by fine houses. It follows the line of the old city wall and divides the town into two sections. The new town extends to the south and west, the old town, with its narrow, along this avenue, which is lined on one side with banks and on the other with cafés, is the Deux Garçons, the most famous brasserie in Aix. Built in 1792, it has been frequented by the likes of Paul Cézanne, Émile Zola, the Cathedral of the Holy Saviour is situated to the north in the medieval part of Aix. The archbishops palace and a Romanesque cloister adjoin the cathedral on its south side, the Archbishopric of Aix is now shared with Arles. Among its other public institutions, Aix also has the second most important Appeal Court outside of Paris, the Hôtel de Ville, a building in the classical style of the middle of the 17th century, looks onto a picturesque square. It contains some fine woodwork and tapestries, at its side rises a handsome clock-tower erected in 1510
Aix-en-Provence
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The Round Fountain, or Three Graces, built in 1860
Aix-en-Provence
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Rue Espariat in Aix-en-Provence.
Aix-en-Provence
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Les Deux Garçons
Aix-en-Provence
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Place de l'Hotel de Ville
2.
Aix-Marseille University
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Aix-Marseille University is a public research university located in Provence, southern France. It was founded in 1409 when Louis II of Anjou, Count of Provence, the university as it is today was formed by the merger of the University of Provence, the University of the Mediterranean and Paul Cézanne University. The merger became effective on 1 January 2012, resulting in the creation of the largest university in the French-speaking world, AMU has the largest financial endowment of any academic institution in the Francophone world, standing at €750 million. The university is organized around five main campuses situated in Aix-en-Provence, apart from its major campuses, AMU owns and operates facilities in Arles, Aubagne, Avignon, Digne-les-Bains, Gap, La Ciotat, Lambesc and Salon-de-Provence. The university is headquartered at the Pharo, Marseille, AMU has produced many notable alumni in the fields of law, politics, business, economics and literature. AMU is a member of academic organisations including the European University Association. The decision to establish the university was, in part, a response to the already-thriving University of Paris, as a result, in order to be sure of the viability of the new institution, Louis II compelled his Provençal students to study in Aix only. Thus, the patent for the university were granted. The Archbishop of Aix-en-Provence Thomas de Puppio was appointed as the first chancellor of the university for the rest of his life. After his death in 1420, a new chancellor was elected by the rector, masters, the rector had to be an “ordinary student”, who had unrestricted civil and criminal jurisdiction in all cases where one party was a doctor or scholar of the university. Those displeased with the decisions could appeal to a doctor legens. Eleven consiliarii provided assistance to the rector, being elected yearly by their predecessors and these individuals represented all faculties, but were elected from among the students. The constitution was of a student-university, and the instructors did not have authority except in granting degrees. Refusal to submit to this extortion was punished by the assemblage of students at the summons of the rector with frying-pans, bassoons. Continued recusancy was followed by the piling up of dirt in front of their door upon every Feast-day and these injunctions were justified on the ground that the money extorted was devoted to divine service. In 1486 Provence passed to the French crown, the universitys continued existence was approved by Louis XII of France, and Aix-en-Provence continued to be a significant provincial centre. It was, for instance, the seat of the Parliament of Aix-en-Provence from 1501 to 1789 and this college de plain exercice became a significant seat of learning, under the control of the Jesuit order. Throughout the 16th and 17th centuries, the college served as a preparatory
Aix-Marseille University
–
The headquarters for AMU is located at the Pharo,
Marseille
Aix-Marseille University
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Louis II of Anjou,
Count of Provence, the university's founder, as painted by
Barthélemy d'Eyck and now on display at the
National Library of France
Aix-Marseille University
–
Former seat of the
University of the Mediterranean Aix-Marseille II
Aix-Marseille University
–
Hôtel Maynier d'Oppède, built 1757, former home of the IEFEE
3.
Mont Sainte-Victoire seen from Bellevue
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Mont Sainte-Victoire seen from Bellevue is a landscape painting dating from around 1886, by the French artist Paul Cézanne. The subject of the painting is the Montagne Sainte-Victoire in Provence in southern France, Cézanne spent a lot of time in Aix-en-Provence at the time, and developed a special relationship with the landscape. This particular mountain, that out in the surrounding landscape, he could see from his house. Moreover, Cézanne depicted the railway bridge on the Aix-Marseille line at the Arc River Valley in the center on the side of this picture. The painting shows clearly Cézannes project of rendering order and clarity to natural scenes, both the light and the colours of the painting give the impression of a pattern that is not imposed on nature, but is there naturally. Becks-Malorny, Ulrike Paul Cézanne, 1839-1906, Pioneer of Modernism, ISBN 3-8228-5642-8 Gombrich, the Story of Art, 16th ed. ISBN 0-7148-3355-X Tomoki Akimaru, Cézanne and the Steam Railway ~
Mont Sainte-Victoire seen from Bellevue
–
Mont Sainte-Victoire seen from Bellevue
4.
Rideau, Cruchon et Compotier
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Rideau, Cruchon et Compotier is a painting created circa 1893 to 1894 by French artist Paul Cézanne. It is considered the most expensive still life sold at an auction. Cézanne was famous for painting still lifes which expressed complex emotions while still being based upon carefully observed reality, Paintings of this type would eventually lead to the creation of new art styles during the 20th century such as Cubism. The painting went through the possession of Paris dealer Ambroise Vollard, Cornelis Hoogendijk, Paul Rosenberg, barnes, and the Carroll Carstairs Gallery. This painting was sold at Sothebys, New York City on 10 May 1999 for $60,502,500, the painting was later resold at a loss. Top 10 Most Expensive Paintings Artnet
Rideau, Cruchon et Compotier
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Rideau, Cruchon et Compotier
5.
The Card Players
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The Card Players is a series of oil paintings by the French Post-Impressionist artist Paul Cézanne. Painted during Cézannes final period in the early 1890s, there are five paintings in the series, the versions vary in size, the number of players, and the setting in which the game takes place. Cézanne also completed numerous drawings and studies in preparation for The Card Players series. The series is considered by critics to be a cornerstone of Cézannes art during the early-to-mid 1890s period, as well as a prelude to his final years, each painting depicts Provençal peasants immersed in their pipes and playing cards. The subjects, all male, are displayed as studious within their card playing, eyes cast downward, whereas previous paintings of the genre had illustrated heightened moments of drama, Cézannes portraits have been noted for their lack of drama, narrative, and conventional characterization. Other than a wine bottle in the two-player versions, there is an absence of drink and money. A painting by one of the Le Nain brothers, hung in an Aix-en-Provence museum near the artists home, the models for the paintings were local farmhands, some of whom worked on the Cézanne family estate, the Jas de Bouffan. One critic described the scenes as human life, while another speculated that the mens intense focus on their game mirrors that of the painters absorption in his art. The largest version, painted between the years 1890–1892, is the most complex, with five figures on a 134.6 x 180.3 cm canvas and it features three card players at the forefront, seated in a semi-circle at a table, with two spectators behind. On the right side of the painting, seated behind the man and to the right of the third, is a boy, eyes cast downward. Further back, on the side between the first and second player is a man standing, back to the wall, smoking a pipe. It has been speculated Cézanne added the man to provide depth to the painting. As with the versions, it displays a suppressed storytelling of peasant men in loose-fitting garments with natural poses focused entirely on their game. Others have described an alienation displayed in the series to be most pronounced in this version, the painting is owned and displayed by the Barnes Foundation museum in Philadelphia, Pennsylvania. A more condensed version of painting with four figures, long thought to be the second version of The Card Players, is in the Metropolitan Museum of Art in New York. At 65.4 x 81.9 cm, it is less than half the size of the Barnes painting, here the composition remains virtually the same, minus the boy, with viewers perspective slightly closer to the game, but with less space between the figures. In the previous painting, the player as well as the boy were hatless. The painting is brighter, with focus on blue tones
The Card Players
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Paul Cézanne: The Card Players 1894–1895,
Musée d'Orsay, Paris
The Card Players
–
The Card Players, 1890–92,
Barnes Foundation, Philadelphia, Pennsylvania
The Card Players
–
The Card Players, 1890–92,
Metropolitan Museum of Art, New York
The Card Players
–
Postage stamp of The Card Players by Paul Cézanne, issued by the Government of France, 1961
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
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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.
Post-Impressionist
–
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-Impressionist
–
Henri Rousseau, The Centenary of Independence, 1892,
Getty Center, Los Angeles
Post-Impressionist
–
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-Impressionist
–
Henri de Toulouse-Lautrec, Portrait of
Émile Bernard, 1886,
Tate Gallery London
Post-Impressionist
–
Camille Pissarro, Haying at Eragny, 1889, Private Collection
8.
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
Impressionism
–
Claude Monet,
Haystacks, (sunset), 1890–1891,
Museum of Fine Arts, Boston
Impressionism
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Pierre-Auguste Renoir, Dance at Le Moulin de la Galette (
Bal du moulin de la Galette),
Musée d'Orsay, 1876
Impressionism
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Édouard Manet,
The Luncheon on the Grass (Le déjeuner sur l'herbe), 1863
Impressionism
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Alfred Sisley, View of the Saint-Martin Canal, Paris, 1870,
Musée d'Orsay
9.
Cubism
–
Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. Cubism has been considered the most influential art movement of the 20th century, the term is broadly used in association with a wide variety of art produced in Paris during the 1910s and extending through the 1920s. The movement was pioneered by Georges Braque and Pablo Picasso, joined by Andre Lhote, Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris. A primary influence that led to Cubism was the representation of form in the late works of Paul Cézanne. The impact of Cubism was far-reaching and wide-ranging, Cubism spread rapidly across the globe and in doing so evolved to a greater or lesser extent. In essence, Cubism was the origin of a process that produced diversity. In France, offshoots of Cubism developed, including Orphism, Abstract art, in other countries Futurism, Suprematism, Dada, Constructivism, De Stijl and Art Deco developed in response to Cubism. Other common threads between these movements include the faceting or simplification of geometric forms, and the association of mechanization. Cubism began between 1907 and 1911, Pablo Picassos 1907 painting Les Demoiselles dAvignon has often been considered a proto-Cubist work. Georges Braques 1908 Houses at L’Estaque prompted the critic Louis Vauxcelles to refer to bizarreries cubiques, Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings. A second phase, Synthetic Cubism, remained vital until around 1919, english art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. Douglas Coopers restrictive use of terms to distinguish the work of Braque, Picasso, Gris. Alternative interpretations of Cubism have therefore developed, wider views of Cubism include artists who were later associated with the Salle 41 artists, e. g. John Berger identifies the essence of Cubism with the mechanical diagram. The metaphorical model of Cubism is the diagram, The diagram being a symbolic representation of invisible processes, forces, structures. A diagram need not eschew certain aspects of appearance but these too will be treated as not as imitations or recreations. During the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian, artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein, at a time when artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks. Picassos paintings of 1907 have been characterized as Protocubism, as seen in Les Demoiselles dAvignon
Cubism
–
Pablo Picasso, 1910, Girl with a Mandolin (Fanny Tellier), oil on canvas, 100.3 x 73.6 cm,
Museum of Modern Art, New York
Cubism
–
Pablo Picasso,
Les Demoiselles d'Avignon, 1907, considered to be a major step towards the founding of the Cubist movement
Cubism
–
Pablo Picasso, 1909-10, Figure dans un Fauteuil (Seated Nude, Femme nue assise), oil on canvas, 92.1 x 73 cm,
Tate Modern, London
Cubism
–
Paul Cézanne, Quarry Bibémus, 1898-1900,
Museum Folkwang,
Essen,
Germany
10.
Henri Matisse
–
Henri-Émile-Benoît Matisse was a French artist, known for both his use of colour and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is primarily as a painter. Although he was labelled a Fauve, by the 1920s he was increasingly hailed as an upholder of the classical tradition in French painting. His mastery of the language of colour and drawing, displayed in a body of work spanning over a half-century. Matisse was born in Le Cateau-Cambrésis, in the Nord department in northern France and he grew up in Bohain-en-Vermandois, Picardie, France. In 1887 he went to Paris to study law, working as an administrator in Le Cateau-Cambrésis after gaining his qualification. He first started to paint in 1889, after his mother brought him art supplies during a period of following an attack of appendicitis. He discovered a kind of paradise as he described it. In 1891 he returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau, initially he painted still lifes and landscapes in a traditional style, at which he achieved reasonable proficiency. Chardin was one of the painters Matisse most admired, as an art student he made copies of four of Chardins paintings in the Louvre, in 1896 and 1897, Matisse visited the Australian painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of van Gogh and he later said Russell was my teacher, and Russell explained colour theory to me. In 1896 Matisse exhibited five paintings in the salon of the Société Nationale des Beaux-Arts, with the model Caroline Joblau, he had a daughter, Marguerite, born in 1894. In 1898 he married Amélie Noellie Parayre, the two raised Marguerite together and had two sons, Jean and Pierre, Marguerite and Amélie often served as models for Matisse. In 1898, on the advice of Camille Pissarro, he went to London to study the paintings of J. M. W. Turner and then went on a trip to Corsica. Upon his return to Paris in February 1899, he worked beside Albert Marquet and met André Derain, Jean Puy, Matisse immersed himself in the work of others and went into debt from buying work from painters he admired. The work he hung and displayed in his home included a plaster bust by Rodin, a painting by Gauguin, a drawing by van Gogh, in Cézannes sense of pictorial structure and colour, Matisse found his main inspiration. Many of Matisses paintings from 1898 to 1901 make use of a Divisionist technique he adopted after reading Paul Signacs essay and his paintings of 1902–03, a period of material hardship for the artist, are comparatively somber and reveal a preoccupation with form. Having made his first attempt at sculpture, a copy after Antoine-Louis Barye, in 1899, he devoted much of his energy to working in clay, fauvism as a style began around 1900 and continued beyond 1910
Henri Matisse
–
Henri Matisse, 1913, by
Alvin Langdon Coburn
Henri Matisse
–
Henri and Amélie Matisse, 1898
Henri Matisse
–
Woman Reading, 1894, Museum of Modern Art, Paris
Henri Matisse
–
Blue Pot and Lemon (1897),
Hermitage Museum,
St. Petersburg, Russia
11.
Pablo Picasso
–
Pablo Ruiz y Picasso, also known as Pablo Picasso, was a Spanish painter, sculptor, printmaker, ceramicist, stage designer, poet and playwright who spent most of his adult life in France. Picasso demonstrated extraordinary artistic talent in his years, painting in a naturalistic manner through his childhood. During the first decade of the 20th century, his style changed as he experimented with different theories, techniques, Picassos work is often categorized into periods. Much of Picassos work of the late 1910s and early 1920s is in a neoclassical style and his later work often combines elements of his earlier styles. Ruiz y Picasso were included for his father and mother, respectively, born in the city of Málaga in the Andalusian region of Spain, he was the first child of Don José Ruiz y Blasco and María Picasso y López. His mother was of one quarter Italian descent, from the territory of Genoa, though baptized a Catholic, Picasso would later on become an atheist. Picassos family was of middle-class background and his father was a painter who specialized in naturalistic depictions of birds and other game. For most of his life Ruiz was a professor of art at the School of Crafts, Picasso showed a passion and a skill for drawing from an early age. According to his mother, his first words were piz, piz, a shortening of lápiz, from the age of seven, Picasso received formal artistic training from his father in figure drawing and oil painting. Ruiz was an academic artist and instructor, who believed that proper training required disciplined copying of the masters. His son became preoccupied with art to the detriment of his classwork, the family moved to A Coruña in 1891, where his father became a professor at the School of Fine Arts. On one occasion, the father found his son painting over his sketch of a pigeon. In 1895, Picasso was traumatized when his sister, Conchita. After her death, the moved to Barcelona, where Ruiz took a position at its School of Fine Arts. Picasso thrived in the city, regarding it in times of sadness or nostalgia as his true home, Ruiz persuaded the officials at the academy to allow his son to take an entrance exam for the advanced class. This process often took students a month, but Picasso completed it in a week, the student lacked discipline but made friendships that would affect him in later life. His father rented a room for him close to home so he could work alone, yet he checked up on him numerous times a day. Picassos father and uncle decided to send the young artist to Madrids Real Academia de Bellas Artes de San Fernando, at age 16, Picasso set off for the first time on his own, but he disliked formal instruction and stopped attending classes soon after enrolment
Pablo Picasso
–
Picasso in 1908
Pablo Picasso
–
Pablo Picasso with his sister Lola, 1889
Pablo Picasso
–
Pablo Picasso, 1901, Old Woman (Woman with Gloves), oil on cardboard, 67 x 52.1 cm,
Philadelphia Museum of Art
Pablo Picasso
–
Pablo Picasso, 1901-02, Femme au café (Absinthe Drinker), oil on canvas, 73 x 54 cm,
Hermitage Museum, Saint Petersburg, Russia
12.
Var (department)
–
The Var is a department in the Provence-Alpes-Côte dAzur region in Provence in southeastern France. It takes its name from the river Var, which used to flow along its eastern boundary, Toulon is the largest city and administrative capital of the Var. Other important towns in the Var include Fréjus, Saint-Raphaël, Draguignan, Brignoles, Hyères, the Department of the Var was created at the time of the French Revolution, on March 4,1790, from a portion of the former Royal province of Provence. Its capital was originally Toulon, but this was moved to Grasse in 1793 to punish the Toulonnais for having handed the town to the British in 1793, subsequently the capital was moved to Brignoles in 1795, then to Draguignan in 1797. It was not returned to Toulon until 1974,1815 - Following the defeat of Napoleon at Waterloo the department was occupied by Austrian troops until November 1818. 1854 – The first railroad reaches Toulon and this move also shifted the Var River, which had given the department its name, to the new Department. 1884 – A cholera epidemic struck Toulon, the leader of the fight against the epidemic was Georges Clemenceau, a doctor and a member of the National Assembly for the Seine region. He was elected Deputy from the Var from 1888 to 1893 and Senator from 1902 to 1920, 1914–1918 – The First World War stimulates growth in shipyards and military industries in the region, but weakens the agricultural and food industry. 1942 – The German Army moves from Occupied France into the Unoccupied Zone, the French Fleet is sabotaged in Toulon Harbor to keep it from falling into German hands. The Maquis Vallier, a group of resistance fighters, is active. August 15,1944 – American and Free French forces land at Cap Nègre, at Trayas, at Saint-Tropez, at Sainte-Maxime, the Free French fleet arrived at Toulon on September 13. 1960s – About one hundred thousand French citizens were repatriated from Algeria following the Algerian War of Independence, the Department of the Var has a surface area of 6,032 km2, and 420 km of coastline, including the offshore islands. 56% of the Var is covered with forest and its geological formations are divided into two regions, one composed of limestone to the north-west of a line between Toulon and Draguignan, and of crystalline rock to the south-east. The department is in the foothills of the Alps and is largely mountainous, the major mountains include, Massif des Maures and Massif de lEsterel, along the coast, are made of quartz rock. The Sainte-Baume mountain ridge, which lies in the west, mountain of Lachens, in the northwest of the department, and the highest point in the Var. The Plateau of Canjuers is located in the northeast of the Var, in the south and west there are several plateaus, such as the plateau of Siou Blanc to the north of Toulon, which rise from 400 to 700 metres in altitude. The Canyon du Verdon, the gorges of the Verdon River, is a place for hikers, kayakers. The Îles dHyères is a group of three islands off Hyères The islands are named Porquerolles, Port-Cros, and Île du Levant, together, they make up an area of 26 km2
Var (department)
–
The Place de la Liberté in
Toulon
Var (department)
–
Location of Var in France
Var (department)
–
Bormes-les-Mimosas
Var (department)
–
the Vieux Port of
Saint-Tropez
13.
French franc
–
The franc, also commonly distinguished as the French franc, was a currency of France. Between 1450 and 1999, it was the name of coins worth 1 livre tournois and it was revalued in 1960, with each new franc being worth 100 old francs. The French franc was a commonly held reserve currency of reference in the 19th and 20th centuries. The first franc was a gold coin introduced in 1360 to pay the Ransom of King John II of France and this coin secured the kings freedom and showed him on a richly decorated horse earning it the name franc à cheval. The obverse legend, like other French coins, gives the title as Francorum Rex. Its value was set as one livre tournois, john’s son, Charles V, continued this type. It was copied exactly at Brabant and Cambrai and, with the arms on the horse cloth changed, conquests led by Joan of Arc allowed Charles VII to return to sound coinage and he revived the franc à cheval. John II, however, was not able to strike enough francs to pay his ransom, John II died as a prisoner in England and his son, Charles V was left to pick up the pieces. Charles V pursued a policy of reform, including stable coinage, an edict dated 20 April 1365 established the centerpiece of this policy, a gold coin officially called the denier d’or aux fleurs de lis which had a standing figure of the king on its obverse. Its value in money of account was one livre tournois, just like the franc à cheval, in accordance with the theories of the mathematician, economist and royal advisor Nicolas Oresme, Charles struck fewer coins of better gold than his predecessors. In the accompanying deflation both prices and wages fell, but wages fell faster and debtors had to settle up in better money than they had borrowed, the Mayor of Paris, Etienne Marcel, exploited their discontent to lead a revolt which forced Charles V out of the city. The States General which met at Blois in 1577 added to the pressure to stop currency manipulation. Henry III agreed to do this and he revived the franc and this coin and its fractions circulated until 1641 when Louis XIII of France replaced it with the silver Écu. Nevertheless, the franc continued in accounting as a synonym for the livre tournois. The decimal franc was established as the currency by the French Revolutionary Convention in 1795 as a decimal unit of 4.5 g of fine silver. This was slightly less than the livre of 4.505 g, silver coins now had their denomination clearly marked as “5 FRANCS” and it was made obligatory to quote prices in francs. e. Coinage with explicit denominations in decimal fractions of the franc also began in 1795, decimalization of the franc was mandated by an act of 7 April 1795, which also dealt with of weights and measures. France’s first decimal coinage used allegorical figures symbolizing revolutionary principles, like the designs the United States had adopted in 1793
French franc
–
Franc à cheval
French franc
–
Franc à pied
French franc
–
1795 five centimes, the first year of decimal fractions for the franc.
French franc
–
1799 two-decimes
essai coin
14.
Courtauld Institute of Art
–
The Courtauld Institute of Art, commonly referred to as The Courtauld, is a self-governing college of the University of London specialising in the study of the history of art and conservation. It is among the most prestigious institutions in the world for these disciplines and is known for the disproportionate number of directors of major museums drawn from its small body of alumni. The art collection of the Institute is known particularly for its French Impressionist and Post-Impressionist paintings and is housed in the Courtauld Gallery, the Institute and the Gallery are both in Somerset House, in the Strand in London. Originally the Courtauld Institute was based in Home House, a Robert Adam-designed townhouse in Londons Portman Square, the Strand block of Somerset House, designed by William Chambers from 1775–1780, has housed the Courtauld Institute since 1989. The Courtauld celebrated its 75th anniversary during the 2007–08 academic year, the Courtauld Institute of Art is the major centre for the study of the history and conservation of art and architecture in the United Kingdom. It offers undergraduate and postgraduate teaching to around 400 students each year, degrees are awarded by the University of London. The Independent has called it probably the most prestigious specialist college for the study of the history of art in the world, the Courtauld was ranked, again, first in the United Kingdom for History and History of Art in The Guardian’s 2017 University Guide. The only undergraduate course offered by the Courtauld is a BA in the History of Art and this is a full-time course designed to introduce students to all aspects of the study of western art. Students in the history of art masters programme have to choose a specialisation ranging from antiquity to modern to global contemporary artwork. Special options are taught in class sizes of 5–10 students. In 2009, it was decided that the Witt Library would not continue to add new material to the collection, the book library is one of the UKs largest archives of art history books, periodicals and exhibition catalogues. There is a library which also covers films, and an IT suite. Two other websites and sell high resolution digital files to scholars, publishers and broadcasters, the Courtauld uses a virtual learning environment to deliver course material to its students. Since 2004, the Courtauld has published a research journal, immediations. Each cover of the journal has been commissioned by a contemporary artist. The art collection of the Institute is housed in the Courtauld Gallery, the collection was begun by the founder of the Institute, Samuel Courtauld, who presented an extensive collection of mainly French Impressionist and Post-Impressionist paintings in 1932. It was enhanced by further gifts in the 1930s and a bequest in 1948, the Gallery contains some 530 paintings and over 26,000 drawings and prints. The Courtauld Gallery is open to the public, since 1989 it has been housed in the Strand block of Somerset House, which was the first home of the Royal Academy, founded in 1768
Courtauld Institute of Art
–
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adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2015)
Courtauld Institute of Art
–
A Bar at the Folies-Bergère (1882) by
Édouard Manet
Courtauld Institute of Art
–
Colleges and
institutions
15.
Camille Pissarro
–
Camille Pissarro was a Danish-French Impressionist and Neo-Impressionist painter born on the island of St Thomas. His importance resides in his contributions to both Impressionism and Post-Impressionism, Pissarro studied from great forerunners, including Gustave Courbet and Jean-Baptiste-Camille Corot. He later studied and worked alongside Georges Seurat and Paul Signac when he took on the Neo-Impressionist style at the age of 54, in 1873 he helped establish a collective society of fifteen aspiring artists, becoming the pivotal figure in holding the group together and encouraging the other members. Cézanne said he was a father for me, a man to consult and a little like the good Lord, and he was also one of Gauguins masters. Renoir referred to his work as revolutionary, through his portrayals of the common man. Pissarro is the only artist to have shown his work at all eight Paris Impressionist exhibitions and he acted as a father figure not only to the Impressionists but to all four of the major Post-Impressionists, including Georges Seurat, Paul Cézanne, Vincent van Gogh and Paul Gauguin. Jacob Abraham Camille Pissarro was born on 10 July 1830 on the island of St. Thomas to Frederick and his father was of Portuguese Jewish descent and held French nationality. His mother was from a French-Jewish family from the island of St. Thomas and his father was a merchant who came to the island from France to deal with the hardware store of a deceased uncle and married his widow. The marriage caused a stir within St. Thomas small Jewish community because she was married to Fredericks uncle. In subsequent years his four children were forced to attend the primary school. Upon his death, his will specified that his estate be split equally between the synagogue and St. Thomas Protestant church, when Camille was twelve his father sent him to boarding school in France. He studied at the Savary Academy in Passy near Paris, while a young student, he developed an early appreciation of the French art masters. Monsieur Savary himself gave him a grounding in drawing and painting and suggested he draw from nature when he returned to St. Thomas. However, his father preferred he work in his business, giving him a job working as a cargo clerk and he took every opportunity during those next five years at the job to practise drawing during breaks and after work. When he turned twenty-one, Danish artist Fritz Melbye, then living on St. Thomas, inspired Pissarro to take on painting as a profession, becoming his teacher. Pissarro then chose to leave his family and job and live in Venezuela and he drew everything he could, including landscapes, village scenes, and numerous sketches, enough to fill up multiple sketchbooks. In 1855 he moved back to Paris where he working as assistant to Anton Melbye. In Paris he worked as assistant to Danish painter Anton Melbye and he also studied paintings by other artists whose style impressed him, Courbet, Charles-François Daubigny, Jean-François Millet, and Corot
Camille Pissarro
–
Circa 1900
Camille Pissarro
–
Paisaje tropical con casas rurales y palmeras, c. 1853.
Galería de Arte Nacional, Caracas
Camille Pissarro
–
Two Women Chatting by the Sea,
St. Thomas, (1856), (private collection)
Camille Pissarro
–
Jalais Hill, Pontoise,
Metropolitan Museum of Art 1867
16.
Louveciennes
–
Louveciennes is a commune in the Yvelines department in the Île-de-France region in north-central France. It is located in the suburbs of Paris, between Versailles and Saint-Germain-en-Laye, and adjacent to Marly-le-Roi. Many castles from the 17th and 18th century, the Château de Louveciennes, built in 1700 by Louis XIV and given to Madame du Barry by Louis XV. The composer Camille Saint-Saëns lived in Louveciennes from 1865 to 1870, marie Louise Élisabeth Vigée-Lebrun, the most famous female painter of the 18th century, died in Louveciennes on 30 March 1842. Anaïs Nin was a popular Cuban novelist born in Neuilly, an area in Paris and lived in Louveciennes from 1930 to 1936 at 2 bis, the start of her career as an author started in this very special town. Louis, 7th duc de Broglie, physicist and Nobel Prize laureate, orchestra conductor Charles Munch resided in Louveciennes at Place Emile Dreux, in the village of Voisins during the last decade of his life. A plaque to that effect has been placed on the residence, until 1964, Louveciennes belonged to the former Seine-et-Oise département. NATO had barracks for SHAPE here from 1959–1967, and the American School of Paris was located nearby from 1959 to 1967, after SHAPE left France, the French government allocated the property to CII, which soon thereafter became part of CII Honeywell Bull. Groupe Bull still has offices in Louveciennes
Louveciennes
–
First snow in Louveciennes by
Alfred Sisley, 1870
Louveciennes
–
Chateau of Voisins
Louveciennes
–
Chateau of Pont
Louveciennes
–
Entrée du village de Voisins by
Camille Pissarro, 1872
17.
Pontoise
–
Pontoise is a commune in the northwestern suburbs of Paris, France. It is located 28.4 km from the centre of Paris, Pontoise is also the seat of the Arrondissement of Pontoise. The sous-préfecture building and administration, unlike the préfecture, are located inside the commune of Pontoise. Known as being a violent city in the past, with a rate of 137.62 incidents per 1000 inhabitants. By 2008 the rate had declined to 99.87, although this is considered high. Pontoise is the capital of the Vexin français. Its foundation dates from Roman times, at that time, the rock peak overhanging the river Oise supported the defense of the ford which was on the Roman road, the Chaussée Jules César, between Lutetia and Rotomagus. The road still exists and is now part of the N14 from Paris to Rouen and it is also known to many people as the birthplace of the alchemist Nicholas Flamel. With an over 2,000 year patrimonium, Pontoise still has vestige of the past, of which medieval lanes, convents, churches and museums, and was awarded the City of Art and History Label in 2006. The impressionnist painter Camille Pissarro made it famous through many paintings which are present nowadays in the most famous art galleries in the world, at the census of 1999, the population was 27,494. The estimate for 2005 was 28,500, some trains originating at Gare Saint-Lazare continue onto Gisors. For bus services, Stivo operates within the new town of Cergy-Pontoise, Pontoise – Cormeilles Aerodrome is the area airport. Many painters took as a point the city and its area for the creation of landscapes. Camille Pissarro lived there for seventeen years, other artists lived or worked in the area such as Vincent van Gogh, Paul Cézanne, Paul Gauguin, Charles-François Daubigny, Gustave Caillebotte, Gustave Loiseau, etc. It was built in the 12th century and reconstructed and enlarged in the 15th and 16th centuries, the tower as well as the central portal is in flamboyant style. The central body is flanked by Renaissance additions. The remaining 12th century part of the cathedral is to the back, to the North of the building is a Renaissance portal. The museum houses sculptures from the Middle Ages, manuscripts from the century and paintings from the twentieth century Musée Pissarro. The Museum is situated in a house at the entrance of the old castle
Pontoise
–
A view of the cathedral of Saint-Maclou, from the Garden of Five Senses, on the promontory of the castle
Pontoise
–
The railway bridge between Pontoise and Saint-Ouen-l'Aumone
Pontoise
–
Cathédrale Saint Maclou
18.
Nicolas Poussin
–
Nicolas Poussin was the leading painter of the classical French Baroque style, although he spent most of his working life in Rome. His work is characterized by clarity, logic, and order, until the 20th century he remained a major inspiration for such classically oriented artists as Jacques-Louis David, Jean-Auguste-Dominique Ingres and Paul Cézanne. He worked in Rome for a circle of leading collectors from there and elsewhere, most of his works are history paintings of religious or mythological subjects that very often have a large landscape element. Early sketches attracted the notice of Quentin Varin, a painter, whose pupil Poussin became. There he entered the studios of the Flemish painter Ferdinand Elle and then of Georges Lallemand and he found French art in a stage of transition, the old apprenticeship system was disturbed, and the academic training destined to supplant it was not yet established by Simon Vouet. In Paris, Poussin was impressed by Italian art he viewed in the royal collection and he attempted to travel to Rome, but after reaching Florence he was forced, perhaps by ill health, to return to Paris. In 1622 he met Giambattista Marino, the poet to Marie de Medici. Marino employed him on illustrations for an edition of Ovids Metamorphoses. These Marino drawings preserved at Windsor Castle are among the few identifiable works of Poussin executed before his arrival in Rome. Marino took him into his household, and in 1624 enabled Poussin to rejoin him at Rome, Poussin was thirty when he arrived in Rome in 1624. At first he lodged with Simon Vouet, through Marino, he had been introduced to Marcello Sacchetti who in turn introduced him to another of his early patrons, Cardinal Francesco Barberini. However, their return from Spain in 1626 stabilized Poussin’s position, with renewed patronage by the Barberini and their circle. He fell ill at this time and was taken into the house of his compatriot Jacques Dughet, where he was nursed by Dughet’s daughter, Anna Maria and his two brothers-in-law were artists and Gaspard Dughet later took Poussin’s surname. During the late 1620s and 1630s, he experimented and formulated his own style and he studied the Antique as well as works such as Titian’s Bacchanals at the Casino Ludovisi and the paintings of Domenichino and Guido Reni. Peter’s, and an ingenious architectural imagination was emerging in works by Borromini, at the time the papacy was Rome’s foremost patron of the arts. Poussin’s Martyrdom of St. Erasmus for St and his subsequent career depended on private patronage. Louis XIII conferred on him the title of First Painter in Ordinary, in 1642, disgusted by the intrigues of Simon Vouet, Fouquières and the architect Jacques Lemercier, Poussin withdrew to Rome. There, in 1648, he finished for de Chantelou the second series of the Seven Sacraments and this painting shows the philosopher discarding his last worldly possession, his cup, after watching a man drink water by cupping his hands
Nicolas Poussin
–
Self portrait by Nicolas Poussin, 1650
Nicolas Poussin
–
Pastorale landscape, 1650
Nicolas Poussin
–
Poussin's Death of Germanicus, 1628
Nicolas Poussin
–
Poussin's
Tancred and
Erminia (early 1630s, oil on canvas, 98.5 x 146.5 cm,
Hermitage Museum) shows an evolution from Poussin's early emulation of
Caravaggio to a return to classicism.
19.
Binocular vision
–
Binocular vision is vision in which creatures having two eyes use them together. The word binocular comes from two Latin roots, bini for double, and oculus for eye, according to Fahle, having two eyes confers six advantages over having one. It gives a creature a spare eye in one is damaged. It gives a wider field of view and it can give stereopsis in which binocular disparity provided by the two eyes different positions on the head gives precise depth perception. This also allows a creature to break the camouflage of another creature and it allows the angles of the eyes lines of sight, relative to each other, and those lines relative to a particular object to be determined from the images in the two eyes. These properties are necessary for the third advantage and it allows a creature to see more of, or all of, an object behind an obstacle. It gives binocular summation in which the ability to detect faint objects is enhanced, other phenomena of binocular vision include utrocular discrimination, eye dominance, allelotropia, binocular fusion or singleness of vision, and binocular rivalry. Binocular vision helps with performance skills such as catching, grasping and it also allows humans to walk over and around obstacles at greater speed and with more assurance. Optometrists and/or Orthoptists are eyecare professionals who fix binocular vision problems, some animals, usually, but not always, prey animals, have their two eyes positioned on opposite sides of their heads to give the widest possible field of view. Examples include rabbits, buffaloes, and antelopes, in such animals, the eyes often move independently to increase the field of view. Even without moving their eyes, some birds have a 360-degree field of view, other animals that are not necessarily predators, such as fruit bats and a number of primates also have forward-facing eyes. These are usually animals that need fine depth discrimination/perception, for instance, binocular vision improves the ability to pick a chosen fruit or to find, the direction of a point relative to the head is called visual direction, or version. The angle between the line of sight of the two eyes when fixating a point is called the disparity, binocular parallax, or vergence demand. The relation between the position of the two eyes, version and vergence is described by Herings law of visual direction, in animals with forward-facing eyes, the eyes usually move together. Eye movements are either conjunctive, version eye movements, usually described by their type, or they are disjunctive, vergence eye movements. The relation between version and vergence eye movements in humans is described by Herings law of equal innervation, some animals use both of the above strategies. A starling, for example, has laterally placed eyes to cover a wide field of view, a remarkable example is the chameleon, whose eyes appear as if mounted on turrets, each moving independently of the other, up or down, left or right. Nevertheless, the chameleon can bring both of its eyes to bear on an object when it is hunting, showing vergence
Binocular vision
–
An eagle.
Binocular vision
–
Principle of binocular vision with
horopter shown
Binocular vision
–
The grey-crowned crane, an animal that has laterally-placed eyes which can also face forward.
20.
Perspective (graphical)
–
Perspective in the graphic arts is an approximate representation, on a flat surface, of an image as it is seen by the eye. If viewed from the spot as the windowpane was painted. Each painted object in the scene is thus a flat, scaled down version of the object on the side of the window. All perspective drawings assume the viewer is a distance away from the drawing. Objects are scaled relative to that viewer, an object is often not scaled evenly, a circle often appears as an ellipse and a square can appear as a trapezoid. This distortion is referred to as foreshortening, Perspective drawings have a horizon line, which is often implied. This line, directly opposite the viewers eye, represents objects infinitely far away and they have shrunk, in the distance, to the infinitesimal thickness of a line. It is analogous to the Earths horizon, any perspective representation of a scene that includes parallel lines has one or more vanishing points in a perspective drawing. A one-point perspective drawing means that the drawing has a vanishing point, usually directly opposite the viewers eye. All lines parallel with the line of sight recede to the horizon towards this vanishing point. This is the standard receding railroad tracks phenomenon, a two-point drawing would have lines parallel to two different angles. Any number of vanishing points are possible in a drawing, one for each set of lines that are at an angle relative to the plane of the drawing. Perspectives consisting of parallel lines are observed most often when drawing architecture. In contrast, natural scenes often do not have any sets of parallel lines, the only method to indicate the relative position of elements in the composition was by overlapping, of which much use is made in works like the Parthenon Marbles. Chinese artists made use of perspective from the first or second century until the 18th century. It is not certain how they came to use the technique, some authorities suggest that the Chinese acquired the technique from India, oblique projection is also seen in Japanese art, such as in the Ukiyo-e paintings of Torii Kiyonaga. This was detailed within Aristotles Poetics as skenographia, using flat panels on a stage to give the illusion of depth, the philosophers Anaxagoras and Democritus worked out geometric theories of perspective for use with skenographia. Alcibiades had paintings in his house designed using skenographia, so this art was not confined merely to the stage, Euclids Optics introduced a mathematical theory of perspective, but there is some debate over the extent to which Euclids perspective coincides with the modern mathematical definition
Perspective (graphical)
–
Staircase in two-point perspective.
Perspective (graphical)
–
15th century illustration from the
Old French translation of
William of Tyre 's Histoire d'Outremer.
Perspective (graphical)
–
Geometrically incorrect attempt at perspective in a 1614 painting of
Old St Paul's Cathedral. (
Society of Antiquaries)
Perspective (graphical)
–
Codex Amiatinus (7th century). Portrait, of Ezra, from folio 5r at the start of
Old Testament
21.
One-point perspective
–
Perspective in the graphic arts is an approximate representation, on a flat surface, of an image as it is seen by the eye. If viewed from the spot as the windowpane was painted. Each painted object in the scene is thus a flat, scaled down version of the object on the side of the window. All perspective drawings assume the viewer is a distance away from the drawing. Objects are scaled relative to that viewer, an object is often not scaled evenly, a circle often appears as an ellipse and a square can appear as a trapezoid. This distortion is referred to as foreshortening, Perspective drawings have a horizon line, which is often implied. This line, directly opposite the viewers eye, represents objects infinitely far away and they have shrunk, in the distance, to the infinitesimal thickness of a line. It is analogous to the Earths horizon, any perspective representation of a scene that includes parallel lines has one or more vanishing points in a perspective drawing. A one-point perspective drawing means that the drawing has a vanishing point, usually directly opposite the viewers eye. All lines parallel with the line of sight recede to the horizon towards this vanishing point. This is the standard receding railroad tracks phenomenon, a two-point drawing would have lines parallel to two different angles. Any number of vanishing points are possible in a drawing, one for each set of lines that are at an angle relative to the plane of the drawing. Perspectives consisting of parallel lines are observed most often when drawing architecture. In contrast, natural scenes often do not have any sets of parallel lines, the only method to indicate the relative position of elements in the composition was by overlapping, of which much use is made in works like the Parthenon Marbles. Chinese artists made use of perspective from the first or second century until the 18th century. It is not certain how they came to use the technique, some authorities suggest that the Chinese acquired the technique from India, oblique projection is also seen in Japanese art, such as in the Ukiyo-e paintings of Torii Kiyonaga. This was detailed within Aristotles Poetics as skenographia, using flat panels on a stage to give the illusion of depth, the philosophers Anaxagoras and Democritus worked out geometric theories of perspective for use with skenographia. Alcibiades had paintings in his house designed using skenographia, so this art was not confined merely to the stage, Euclids Optics introduced a mathematical theory of perspective, but there is some debate over the extent to which Euclids perspective coincides with the modern mathematical definition
One-point perspective
–
Staircase in two-point perspective.
One-point perspective
–
15th century illustration from the
Old French translation of
William of Tyre 's Histoire d'Outremer.
One-point perspective
–
Geometrically incorrect attempt at perspective in a 1614 painting of
Old St Paul's Cathedral. (
Society of Antiquaries)
One-point perspective
–
Codex Amiatinus (7th century). Portrait, of Ezra, from folio 5r at the start of
Old Testament
22.
Stereoscopy
–
Stereoscopy is a technique for creating or enhancing the illusion of depth in an image by means of stereopsis for binocular vision. The word stereoscopy derives from Greek στερεός, meaning firm, solid, any stereoscopic image is called a stereogram. Originally, stereogram referred to a pair of images which could be viewed using a stereoscope. Most stereoscopic methods present two offset images separately to the left and right eye of the viewer and these two-dimensional images are then combined in the brain to give the perception of 3D depth. Stereoscopy creates the illusion of depth from given two-dimensional images. One of the functions that occur within the brain as it interprets what the eyes see is assessing the relative distances of objects from the viewer, the two images are then combined in the brain to give the perception of depth. Although the term 3D is ubiquitously used, the presentation of dual 2D images is distinctly different from displaying an image in three full dimensions. The most notable difference is that, in the case of 3D displays, holographic displays and volumetric display do not have this limitation. Just as it is not possible to recreate a full 3-dimensional sound field with just two speakers, it is an overstatement to call dual 2D images 3D. The accurate term stereoscopic is more cumbersome than the common misnomer 3D, although most stereoscopic displays do not qualify as real 3D display, all real 3D displays are also stereoscopic displays because they meet the lower criteria also. Most 3D displays use this method to convey images. It was first invented by Sir Charles Wheatstone in 1838, but if it be required to obtain the most faithful resemblances of real objects, shadowing and colouring may properly be employed to heighten the effects. Flowers, crystals, busts, vases, instruments of various kinds, Stereoscopy is used in photogrammetry and also for entertainment through the production of stereograms. Stereoscopy is useful in viewing images rendered from large data sets such as are produced by experimental data. Modern industrial three-dimensional photography may use 3D scanners to detect and record three-dimensional information, the three-dimensional depth information can be reconstructed from two images using a computer by correlating the pixels in the left and right images. Solving the Correspondence problem in the field of Computer Vision aims to create meaningful depth information from two images, anatomically, there are 3 levels of binocular vision required to view stereo images, Simultaneous perception Fusion Stereopsis These functions develop in early childhood. Some people who have strabismus disrupt the development of stereopsis, however orthoptics treatment can be used to improve binocular vision, a persons stereoacuity determines the minimum image disparity they can perceive as depth. It is believed that approximately 12% of people are unable to properly see 3D images, according to another experiment up to 30% of people have very weak stereoscopic vision preventing them from depth perception based on stereo disparity
Stereoscopy
–
Pocket stereoscope with original test image. Used by military to examine stereoscopic pairs of
aerial photographs.
Stereoscopy
–
View of
Boston, c. 1860; an early stereoscopic card for viewing a scene from nature
Stereoscopy
–
Kaiserpanorama consisted of a multi-station viewing apparatus and sets of stereo slides. Patented by A. Fuhrmann around 1890.
Stereoscopy
–
Company of ladies watching stereoscopic photographs, painting by Jacob Spoel, before 1868. A very early depiction of people using a stereoscope.
23.
Hippolyte Taine
–
Hippolyte Adolphe Taine was a French critic and historian. He was the chief influence of French naturalism, a major proponent of sociological positivism. Literary historicism as a movement has been said to originate with him. Taine is particularly remembered for his approach to the contextual study of a work of art, based on the aspects of what he called race, milieu. The tomb of Hippolyte Taine is in Roc de Chère National Nature Reserve, in Talloires, near the Lake Annecy. Taine was born in Vouziers, but entered a boarding school and he excelled as a student, receiving a number of prizes in both scientific and humanistic subjects, and taking two Baccalauréat degrees at the École Normale before he was 20. Taines contrarian politics led to difficulties keeping teaching posts, and his academic career was decidedly mixed. After his dissertation on sensation was rejected, he abandoned his studies in the social sciences, feeling that literature was safer. He completed a doctorate at the Sorbonne in 1853, with more success in his new field, his dissertation, Essai sur les fables de La Fontaine. This reaction led Taine to reject the French Constitution of 1793 as a Jacobin document, Taine is best known now for his attempt at a scientific account of literature, based on the categories of race, milieu, and moment. Taine argued that literature was largely the product of the environment. In this sense he was a sociological positivist, though with important differences, Taine did not mean race in the specific sense now common, but rather the collective cultural dispositions that govern everyone without their knowledge or consent. What differentiates individuals within this race, for Taine, was milieu. Taines influence on French intellectual culture and literature was enormous and he had a special relationship, in particular, with Émile Zola. In addition, post-modern literary critics concerned with the relationship between literature and social history continue to cite Taines work, and to use of the idea of race, milieu. The critic John Chapple, for example, has used the term as an illustration of his own concept of composite history, Taine shared a correspondence with the philosopher Friedrich Nietzsche, who later referred to him in Beyond Good and Evil as the first of living historians. He was also the subject of Stefan Zweigs doctoral thesis, The Philosophy of Hippolyte Taine, similarly, Gustave Lanson argued that race, milieu, and moment could not among themselves account for genius, Taine, he felt, explained mediocrity better than he explained greatness. A distinct criticism concerns the possible sloppiness of the logic and scientific basis of the three concepts, bolesław Prus Piotr Chmielowski Thomas Blackwell Belloc, Hilaire
Hippolyte Taine
–
Portrait of Hippolyte Taine by
Léon Bonnat.
Hippolyte Taine
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Title page of the 1880 edition of Taine's A Tour Through the Pyrenees, first published in 1855.
Hippolyte Taine
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Taine with a cat.
24.
George Berkeley
–
George Berkeley — known as Bishop Berkeley — was an Irish philosopher whose primary achievement was the advancement of a theory he called immaterialism. Berkeley is also known for his critique of abstraction, an important premise in his argument for immaterialism, in this book, Berkeleys views were represented by Philonous, while Hylas embodies the Irish thinkers opponents, in particular John Locke. Berkeley argued against Sir Isaac Newtons doctrine of space, time and motion in De Motu. His arguments were a precursor to the views of Mach and Einstein and his last major philosophical work, Siris, begins by advocating the medicinal use of tar water and then continues to discuss a wide range of topics, including science, philosophy, and theology. Berkeley was born at his home, Dysart Castle, near Thomastown, County Kilkenny, Ireland, the eldest son of William Berkeley. He was educated at Kilkenny College and attended Trinity College, Dublin, earning a degree in 1704. He remained at Trinity College after completion of his degree as a tutor and his earliest publication was on mathematics, but the first that brought him notice was his An Essay towards a New Theory of Vision, first published in 1709. In the essay, Berkeley examines visual distance, magnitude, position and problems of sight, while this work raised much controversy at the time, its conclusions are now accepted as an established part of the theory of optics. For this theory, the Principles gives the exposition and the Dialogues the defence, one of his main objectives was to combat the prevailing materialism of his time. Shortly afterwards, Berkeley visited England and was received into the circle of Addison, Pope and Steele. In 1721, he took Holy Orders in the Church of Ireland, earning his doctorate in divinity, in 1721/2 he was made Dean of Dromore and, in 1724, Dean of Derry. Swift said generously that he did not grudge Berkeley his inheritance, a story that Berkeley and Marshall disregarded a condition of the inheritance that they must publish the correspondence between Swift and Vanessa is probably untrue. In 1725, he began the project of founding a college in Bermuda for training ministers and missionaries in the colony, in 1728, he married Anne Forster, daughter of John Forster, Chief Justice of the Irish Common Pleas. He then went to America on a salary of £100 per annum and he landed near Newport, Rhode Island, where he bought a plantation at Middletown – the famous Whitehall. It has been claimed that he introduced Palladianism into America by borrowing a design from Kents Designs of Inigo Jones for the door-case of his house in Rhode Island, Whitehall. He also brought to New England John Smibert, the British artist he discovered in Italy, meanwhile, he drew up plans for the ideal city he planned to build on Bermuda. He lived at the plantation while he waited for funds for his college to arrive, the funds, however, were not forthcoming, and in 1732 he left America and returned to London. While living in Londons Saville Street, he took part in efforts to create a home for the abandoned children
George Berkeley
–
Portrait of Berkeley by
John Smybert, 1727
25.
Disease
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A disease is a particular abnormal condition, a disorder of a structure or function, that affects part or all of an organism. The study of disease is called pathology which includes the study of cause, Disease is often construed as a medical condition associated with specific symptoms and signs. When caused by pathogens, even in the literature, the term disease is often misleadingly used in the place of its causal agent. This language habitat can cause confusion in the communication of the principle in epidemiology. Diseases can affect not only physically, but also emotionally. Death due to disease is called death by natural causes, there are four main types of disease, infectious diseases, deficiency diseases, genetic diseases, and physiological diseases. Diseases can also be classified as communicable and non-communicable, the deadliest diseases in humans are coronary artery disease, followed by cerebrovascular disease and lower respiratory infections. In many cases, terms such as disease, disorder, morbidity, there are situations, however, when specific terms are considered preferable. Disease The term disease broadly refers to any condition that impairs the normal functioning of the body, for this reason, diseases are associated with dysfunctioning of the bodys normal homeostatic processes. The term disease has both a count sense and a noncount sense, by contrast, an infection that is asymptomatic during its incubation period, but expected to produce symptoms later, is usually considered a disease. Non-infectious diseases are all other diseases, including most forms of cancer, heart disease, acquired disease disease that began at some point during ones lifetime, as opposed to disease that was already present at birth, which is congenital disease. Acquired sounds like it could mean caught via contagion, but it simply means acquired sometime after birth and it also sounds like it could imply secondary disease, but acquired disease can be primary disease. It is often, genetic and can be inherited and it can also be the result of a vertically transmitted infection from the mother such as HIV/AIDS. Genetic disease disease that is caused by genetic mutation and it is often inherited, but some mutations are random and de novo. Hereditary or inherited disease a type of disease caused by mutation that is hereditary Iatrogenic disease A disease condition caused by medical intervention. Idiopathic disease disease whose cause is unknown, as medical science has advanced, many diseases whose causes were formerly complete mysteries have been somewhat explained or even extensively explained. Bacterial infections can be primary or secondary to a viral infection or burn. Terminal disease disease with death as an inevitable result Illness Illness is generally used as a synonym for disease, however, this term is occasionally used to refer specifically to the patients personal experience of his or her disease
Disease
–
Scanning electron micrograph of
Mycobacterium tuberculosis, a
bacterium that causes
tuberculosis.
Disease
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Obesity was a status symbol in
Renaissance culture: "The Tuscan General
Alessandro del Borro ", attributed to
Andrea Sacchi, 1645. It is now generally regarded as a disease.
26.
National Gallery of Art
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The National Gallery of Art, and its attached Sculpture Garden, is a national art museum in Washington, D. C. located on the National Mall, between 3rd and 9th Streets, at Constitution Avenue NW. Open to the public and free of charge, the museum was established in 1937 for the American people by a joint resolution of the United States Congress. Andrew W. Mellon donated an art collection and funds for construction. The Gallery often presents temporary special exhibitions spanning the world and the history of art and it is one of the largest museums in North America. In 1930 Mellon formed the A. W. Mellon Educational and Charitable Trust, when quizzed by Abbot, he explained that the project was in the hands of the Trust and that its decisions were partly dependent on the attitude of the Government towards the gift. Designed by architect John Russell Pope, the new structure was completed and accepted by President Franklin D. Roosevelt on behalf of the American people on March 17,1941. Neither Mellon nor Pope lived to see the completed, both died in late August 1937, only two months after excavation had begun. At the time of its inception it was the largest marble structure in the world, as anticipated by Mellon, the creation of the National Gallery encouraged the donation of other substantial art collections by a number of private donors. The Gallerys East Building was constructed in the 1970s on much of the land left over from the original congressional joint resolution. It was funded by Mellons children Paul Mellon and Ailsa Mellon Bruce, designed by famed architect I. M. Pei, the contemporary structure was completed in 1978 and was opened on June 1 of that year by President Jimmy Carter. The new building was built to house the Museums collection of paintings, drawings, sculptures. The design received a National Honor Award from the American Institute of Architects in 1981, the final addition to the complex is the National Gallery of Art Sculpture Garden. Completed and opened to the public on May 23,1999, the National Gallery of Art is supported through a private-public partnership. The United States federal government provides funds, through annual appropriations, to support the museums operations, all artwork, as well as special programs, are provided through private donations and funds. The museum is not part of the Smithsonian Institution, noted directors of the National Gallery have included David E. Finley, Jr. John Walker, and J. Carter Brown. Rusty Powell III is the current director, entry to both buildings of the National Gallery of Art is free of charge. From Monday through Saturday, the museum is open from 10 a. m. –5 p. m. it is open from 11 –6 p. m. on Sundays and it is closed on December 25 and January 1. The museum comprises two buildings, the West Building and the East Building linked by an underground passage
National Gallery of Art
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National Gallery of Art
National Gallery of Art
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The East Building
National Gallery of Art
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Exhibitions in the West Building
National Gallery of Art
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Exhibitions in the East Building
27.
Paris Salon
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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
Paris Salon
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Formally dressed patrons at the Salon in 1890
Paris Salon
–
This portrait by
John Singer Sargent of
Virginie Amélie Avegno Gautreau depicting her
cleavage caused considerable controversy when it was displayed at the 1884 Salon.
Paris Salon
–
Salon of 1932, Grand Palais, Paris.
Paris Salon
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Salon of 1753
28.
Antoine Guillemet
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Jean-Baptiste-Antoine Guillemet (June 30,1843 in Chantilly – May 19,1918 in Mareuil-sur-Belle was a French the renowned landscape painter and longtime Jury member of the Salon des Artistes Francais. He was one of the first 19th-century artists to paint modern life, Antoine Guillemet born in Chantilly, in the Oise, he studied under Jean-Baptiste Camille Corot, Achille-François Oudinot, Charles-François Daubigny and Gustave Courbet. Guillemet showed an early interest in sailing, a pursuit which was discouraged by his parents. He briefly studied law, but this too proved to be a false start and it was in 1859, when he received a commission from a local collector to copy Gericaults famous The Raft of the Medusa Musee dAmiens, that Guillemet’s career as an artist was launched. Two years later, while still only twenty-one, Guillemet was introduced to Corot by Berthe Morisot, like many of the young artists, Guillemet affectionately called Corot Papa and remained a lifelong admirer of the artist. When Cézanne finally exhibited at the Salon in 1882, his entry described him as ‘pupil of Guillemet’ and it was Guillemet, in fact, who introduced Manet to Cézanne and who first took Émile Zola to Manets studio. Like almost every ambitious young artist Guillemet realized that he needed to make his mark at the Paris Salon, just as Paris was important as a venue for the artist to exhibit, it also provided subjects for his brush. This early success may also explain why the artist continued to show at the Salon instead of accepting the invitation of his friends to them in exhibiting at the Impressionists shows. In the Exposition Universelle, celebrating the centennial of the French Revolution, Guillemet was represented by seven paintings, including Le Vieux Quai de Bercy and Paris, vue prise de Meudon. His large-scale works also earned him the description as the ‘grand bourgeois’ of painting, between 1868 and 1869, he posed for Manets painting The Balcony. Guillemets students included, References Sources Antoine Guillemet File, Documentation du Musée dOrsay, Paris
Antoine Guillemet
–
Jean-Baptiste-Antoine Guillemet
Antoine Guillemet
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Édouard Manet:
The Balcony. Antoine Guillemet
Antoine Guillemet
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Antoine Guillemet in his Paris studio, c.1890
Antoine Guillemet
–
Le Port de Barfleur,
Musée des Beaux-Arts de Caen
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