1.
Paris
–
Paris is the capital and most populous city of France. It has an area of 105 square kilometres and a population of 2,229,621 in 2013 within its administrative limits, the agglomeration has grown well beyond the citys administrative limits. By the 17th century, Paris was one of Europes major centres of finance, commerce, fashion, science, and the arts, and it retains that position still today. The aire urbaine de Paris, a measure of area, spans most of the Île-de-France region and has a population of 12,405,426. It is therefore the second largest metropolitan area in the European Union after London, the Metropole of Grand Paris was created in 2016, combining the commune and its nearest suburbs into a single area for economic and environmental co-operation. Grand Paris covers 814 square kilometres and has a population of 7 million persons, the Paris Region had a GDP of €624 billion in 2012, accounting for 30.0 percent of the GDP of France and ranking it as one of the wealthiest regions in Europe. The city is also a rail, highway, and air-transport hub served by two international airports, Paris-Charles de Gaulle and Paris-Orly. Opened in 1900, the subway system, the Paris Métro. It is the second busiest metro system in Europe after Moscow Metro, notably, Paris Gare du Nord is the busiest railway station in the world outside of Japan, with 262 millions passengers in 2015. In 2015, Paris received 22.2 million visitors, making it one of the top tourist destinations. The association football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris, the 80, 000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros, Paris hosted the 1900 and 1924 Summer Olympics and is bidding to host the 2024 Summer Olympics. The name Paris is derived from its inhabitants, the Celtic Parisii tribe. Thus, though written the same, the name is not related to the Paris of Greek mythology. In the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps, since the late 19th century, Paris has also been known as Panam in French slang. Inhabitants are known in English as Parisians and in French as Parisiens and they are also pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the areas major north-south trade routes crossed the Seine on the île de la Cité, this place of land and water trade routes gradually became a town
Paris
–
In the 1860s Paris streets and monuments were illuminated by 56,000 gas lamps, making it literally "The City of Light."
Paris
Paris
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Gold coins minted by the Parisii (1st century BC)
Paris
–
The
Palais de la Cité and
Sainte-Chapelle, viewed from the Left Bank, from the
Très Riches Heures du duc de Berry (month of June) (1410)
2.
Painting
–
Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
Painting
–
The
Mona Lisa, by
Leonardo da Vinci, is one of the most recognizable paintings in the world.
Painting
–
Chen Hongshou (1598–1652), Leaf album painting (
Ming Dynasty)
Painting
–
Circus Sideshow (
French: Parade de cirque),
Georges Seurat, 1887–88
Painting
–
Cave painting of aurochs, (
French: Bos primigenius primigenius),
Lascaux,
France,
prehistoric art
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
Post-Impressionism
–
Henri Rousseau, The Centenary of Independence, 1892,
Getty Center, Los Angeles
Post-Impressionism
Post-Impressionism
–
Poster of the 1889 Exhibition of Paintings by the
Impressionist and
Synthetist Group, at Café des Arts, known as the
The Volpini Exhibition, 1889
Post-Impressionism
–
Henri de Toulouse-Lautrec, Portrait of
Émile Bernard, 1886,
Tate Gallery London
4.
Neo-impressionism
–
Neo-Impressionism is a term coined by French art critic Félix Fénéon in 1886 to describe an art movement founded by Georges Seurat. Around this time, the peak of France’s modern era emerged, followers of Neo-Impressionism, in particular, were drawn to modern urban scenes as well as landscapes and seashores. Science-based interpretation of lines and colors influenced Neo-Impressionists characterization of their own contemporary art, the Pointillist and Divisionist techniques are often mentioned in this context, because it was the dominant technique in the beginning of the Neo-impressionist movement. Some argue that Neo-Impressionism became the first true movement in painting. The Neo-Impressionists were able to create a movement very quickly in the 19th century, partially due to its connection to anarchism. The movement and the style were an attempt to drive harmonious vision from modern science, anarchist theory, during the emergence of Neo-Impressionism, Seurat and his followers strove to refine the impulsive and intuitive artistic mannerisms of Impressionism. Neo-impressionists used disciplined networks of dots and blocks of color in their desire to instill a sense of organization, in further defining the movement, Seurat incorporated the recent explanation of optic and color perceptions. The development of theory by Michel Eugène Chevreul and others by the late 19th century played a pivotal role in shaping the Neo-Impressionist style. Ogden Rood’s book, Modern Chromatics, with Applications to Art and Industry, acknowledged the different behaviors exhibited by colored light, while the mixture of the former created a white or gray color, that of the latter produced a dark, murky color. As painters, Neo-Impressionists had to deal with colored pigments, so to avoid the dullness, mixing of colors was not necessary. There are a number of alternatives to the term Neo-Impressionism and each has its own nuance and it emphasized the studies of color and light which were central to his artistic style. This term is used today. Divisionism, which is commonly used, is used to describe a mode of Neo-Impressionist painting. It refers to the method of applying individual strokes of complementary, unlike other designations of this era, the term Neo-Impressionism was not given as a criticism. Instead, it embraces Seurats and his followers ideals in their approach to art, note, Pointillism merely describes a later technique based on divisionism in which dots of color instead of blocks of color are applied. Neo-Impressionism was first presented to the public in 1886 at the Salon des Indépendants, the Indépendants remained their main exhibition space for decades with Signac acting as president of the association. But with the success of Neo-Impressionism, its fame spread quickly, in 1886, Seurat and Signac were invited to exhibit in the 8th and final Impressionist exhibition, later with Les XX and La Libre Esthétique in Brussels. In 1892, a group of Neo-Impressionist painters united to show their works in Paris, in the Salons of the Hôtel Brébant,32, the following year they exhibited at 20, rue Laffitte
Neo-impressionism
–
A Sunday Afternoon on the Island of La Grande Jatte
Neo-impressionism
–
Paul Signac, 1890, Portrait of
Félix Fénéon (in front of an enamel of a rhythmic background of measures and angles, shades and colors), oil on canvas, 73.7 x 92.5 cm (28.9 x 36.4 in.),
Museum of Modern Art, New York
Neo-impressionism
–
Henri-Edmond Cross, The Evening Air (l'Air du soir), c.1893, oil on canvas, 116 x 164 cm,
Musée d'Orsay, Paris
Neo-impressionism
–
Georges Seurat, Le Cirque, 1891, oil on canvas, 185 x 152 cm,
Musée d'Orsay, Paris
5.
Pointillism
–
Pointillism /ˈpɔɪntᵻlɪzəm/ is a technique of painting in which small, distinct dots of color are applied in patterns to form an image. Georges Seurat and Paul Signac developed the technique in 1886, branching from Impressionism, the term Pointillism was coined by art critics in the late 1880s to ridicule the works of these artists, and is now used without its earlier mocking connotation. The movement Seurat began with this technique is known as Neo-Impressionism, the Divisionists, too, used a similar technique of patterns to form images, though with larger cube-like brushstrokes. The technique relies on the ability of the eye and mind of the viewer to blend the color spots into a range of tones. It is related to Divisionism, a technical variant of the method. Divisionism is concerned with theory, whereas pointillism is more focused on the specific style of brushwork used to apply the paint. It is a technique with few serious practitioners today, and is seen in the works of Seurat, Signac. However, see also Andy Warhols early works, and Pop Art, the practice of Pointillism is in sharp contrast to the traditional methods of blending pigments on a palette. Pointillism is analogous to the four-color CMYK printing process used by some printers and large presses that place dots of Cyan, Magenta, Yellow. Televisions and computer monitors use a technique to represent image colors using Red, Green. If red, blue, and green light are mixed, the result is something close to white light, painting is inherently subtractive, but Pointillist colors often seem brighter than typical mixed subtractive colors. This may be partly because subtractive mixing of the pigments is avoided, the painting technique used for Pointillist color mixing is at the expense of the traditional brushwork used to delineate texture. The majority of Pointillism is done in oil paint, anything may be used in its place, but oils are preferred for their thickness and tendency not to run or bleed. Pointillism also refers to a style of 20th-century music composition, different musical notes are made in seclusion, rather than in a linear sequence, giving a sound texture similar to the painting version of Pointillism. This type of music is known as punctualism or klangfarbenmelodie
Pointillism
–
Detail from
Seurat 's La Parade de Cirque (1889), showing the contrasting dots of paint used in Pointillism
Pointillism
–
Paul Signac, Femmes au Puits, 1892, showing a detail with constituent colors.
Musée d'Orsay, Paris
Pointillism
–
Henri-Edmond Cross, L'air du soir, c.1893,
Musée d'Orsay
Pointillism
–
Vincent van Gogh, Self Portrait, 1887, using pointillist technique.
6.
Divisionism
–
Divisionism was the characteristic style in Neo-Impressionist painting defined by the separation of colors into individual dots or patches which interacted optically. By requiring the viewer to combine the colors optically instead of mixing pigments, Divisionists believed they were achieving the maximum luminosity scientifically possible. Georges Seurat founded the style around 1884 as chromoluminarism, drawing from his understanding of the theories of Michel Eugène Chevreul, Ogden Rood and Charles Blanc. Divisionism developed along with style, Pointillism, which is defined specifically by the use of dots of paint. Divisionism, along with the Neo-Impressionism movement as a whole, found its beginnings in Georges Seurats masterpiece, Seurat had received classical training at the École des Beaux-Arts, and, as such, his initial works reflected the Barbizon style. Mixing pigments physically is a process with cyan, magenta. On the other hand, if colored light is mixed together, an additive mixture results, the primary colors are the same. g. Direct sunlight, As appropriate, yellow-orange colors representing the sun’s action would be interspersed with the colors to emulate the effect of direct sunlight. Shadow, If lighting is indirect, various other colors, such as blues, reds and purples, can be used to simulate the darkness. Reflected light, An object which is adjacent to another in a painting could cast reflected colors onto it, Contrast, To take advantage of Chevreul’s theory of simultaneous contrast, contrasting colors might be placed in close proximity. Seurat’s theories intrigued many of his contemporaries, as other artists seeking a reaction against Impressionism joined the Neo-Impressionist movement, Paul Signac, in particular, became one of the main proponents of divisionist theory, especially after Seurat’s death in 1891. In fact, Signac’s book, D’Eugène Delacroix au Néo-Impressionnisme, published in 1899, coined the term Divisionism and became widely recognized as the manifesto of Neo-Impressionism. Additionally, through Paul Signac’s advocacy of Divisionism, an influence can be seen in some of the works of Vincent van Gogh, Henri Matisse, Jean Metzinger, Robert Delaunay and Pablo Picasso. In 1907 Metzinger and Delaunay were singled out by the critic Louis Vauxcelles as Divisionists who used large, mosaic-like cubes to construct small, both artists had develop a new sub-style that had great significance shortly thereafter within the context of their Cubist works. Piet Mondrian, Jan Sluijters, Leo Gestel and Nico van Rijn, in the Netherlands, the Futurists later would adapt the style, in part influenced by Gino Severinis Parisian experience, into their dynamic paintings and sculpture. The influence of Seurat and Signac on some Italian painters became evident in the First Triennale in 1891 in Milan, pellizza da Volpedo applied the technique to social subjects, in this he was joined by Morbelli and Longoni. Among Pelliza’s Divisionist works were Speranze deluse and Il sole nascente and it was, however, in the subject of landscapes that divisionism found strong advocates, including Segantini, Previati, Morbelli, and Carlo Fornara. Further adherents in painting subjects were Plinio Nomellini, Rubaldo Merello, Giuseppe Cominetti, Angelo Barabino, Camillo Innocenti, Enrico Lionne
Divisionism
–
A Sunday Afternoon on the Island of La Grande Jatte
Divisionism
–
Charles Blanc ’s color wheel, which was influential in Divisionist theory
Divisionism
–
Portrait of Félix Fénéon
Divisionism
–
Self-Portrait with Felt Hat
7.
Georges Seurat
–
Georges-Pierre Seurat was a French post-Impressionist painter and draftsman. He is noted for his use of drawing media and for devising the painting techniques known as chromoluminarism and pointillism. His large-scale work, A Sunday Afternoon on the Island of La Grande Jatte, altered the direction of art by initiating Neo-impressionism. Seurat was born 2 December 1859 in Paris, at 60 rue de Bondy, the Seurat family moved to 136 boulevard de Magenta in 1862 or 1863. His father, Antoine Chrysostome Seurat, originally from Champagne, was a legal official who had become wealthy from speculating in property. Georges had a brother, Émile Augustin, and a sister, Marie-Berthe and his father lived in Le Raincy and visited his wife and children once a week at boulevard de Magenta. Georges Seurat first studied art at the École Municipale de Sculpture et Dessin, near his familys home in the boulevard Magenta, Seurats studies resulted in a well-considered and fertile theory of contrasts, a theory to which all his work was thereafter subjected. His formal artistic education came to an end in November 1879, after a year at the Brest Military Academy, he returned to Paris where he shared a studio with his friend Aman-Jean, while also renting a small apartment at 16 rue de Chabrol. For the next two years, he worked at mastering the art of monochrome drawing and his first exhibited work, shown at the Salon, of 1883, was a Conté crayon drawing of Aman-Jean. He also studied the works of Eugène Delacroix carefully, making notes on his use of color and he spent 1883 working on his first major painting—a large canvas titled Bathers at Asnières, a monumental work showing young men relaxing by the Seine in a working-class suburb of Paris. Seurat also departed from the Impressionist ideal by preparing for the work with a number of drawings, Bathers at Asnières was rejected by the Paris Salon, and instead he showed it at the Groupe des Artistes Indépendants in May 1884. Seurats new ideas on pointillism were to have a strong influence on Signac. In the summer of 1884, Seurat began work on A Sunday Afternoon on the Island of La Grande Jatte, the painting shows members of each of the social classes participating in various park activities. The tiny juxtaposed dots of multi-colored paint allow the eye to blend colors optically. It took Seurat two years to complete this 10-foot-wide painting, much of which he spent in the park sketching in preparation for the work and it is now in the permanent collection of the Art Institute of Chicago. The painting was the inspiration for James Lapine and Stephen Sondheims musical, Seurat concealed his relationship with Madeleine Knobloch, an artists model whom he portrayed in his painting Jeune femme se poudrant. In 1889 she moved in with Seurat in his studio on the 7th floor of 128bis Boulevard de Clichy, when Madeleine became pregnant, the couple moved to a studio at 39 passage de lÉlysée-des-Beaux-Arts. There she gave birth to their son, who was named Pierre-Georges,16 February 1890, Seurat died in Paris in his parents home on 29 March 1891 at the age of 31
Georges Seurat
–
Georges Seurat, 1888
Georges Seurat
–
Georges Seurat, 1889-90,
Le Chahut, oil on canvas, 170 x 141 cm,
Kröller-Müller Museum, Otterlo
Georges Seurat
–
Jeune femme se poudrant (Young Woman Powdering Herself), 1888-90, oil on canvas, 95.5 x 79.5 cm,
Courtauld Institute of Art
Georges Seurat
–
Detail from
Circus Sideshow (Parade de Cirque) (1889) showing pointillism and color theory
8.
Architecture
–
Architecture is both the process and the product of planning, designing, and constructing buildings and other physical structures. Architectural works, in the form of buildings, are often perceived as cultural symbols. Historical civilizations are often identified with their surviving architectural achievements, Architecture can mean, A general term to describe buildings and other physical structures. The art and science of designing buildings and nonbuilding structures, the style of design and method of construction of buildings and other physical structures. A unifying or coherent form or structure Knowledge of art, science, technology, the design activity of the architect, from the macro-level to the micro-level. The practice of the architect, where architecture means offering or rendering services in connection with the design and construction of buildings. The earliest surviving work on the subject of architecture is De architectura. According to Vitruvius, a building should satisfy the three principles of firmitas, utilitas, venustas, commonly known by the original translation – firmness, commodity. An equivalent in modern English would be, Durability – a building should stand up robustly, utility – it should be suitable for the purposes for which it is used. Beauty – it should be aesthetically pleasing, according to Vitruvius, the architect should strive to fulfill each of these three attributes as well as possible. Leon Battista Alberti, who elaborates on the ideas of Vitruvius in his treatise, De Re Aedificatoria, saw beauty primarily as a matter of proportion, for Alberti, the rules of proportion were those that governed the idealised human figure, the Golden mean. The most important aspect of beauty was, therefore, an inherent part of an object, rather than something applied superficially, Gothic architecture, Pugin believed, was the only true Christian form of architecture. The 19th-century English art critic, John Ruskin, in his Seven Lamps of Architecture, Architecture was the art which so disposes and adorns the edifices raised by men. That the sight of them contributes to his health, power. For Ruskin, the aesthetic was of overriding significance and his work goes on to state that a building is not truly a work of architecture unless it is in some way adorned. For Ruskin, a well-constructed, well-proportioned, functional building needed string courses or rustication, but suddenly you touch my heart, you do me good. I am happy and I say, This is beautiful, le Corbusiers contemporary Ludwig Mies van der Rohe said Architecture starts when you carefully put two bricks together. The notable 19th-century architect of skyscrapers, Louis Sullivan, promoted an overriding precept to architectural design, function came to be seen as encompassing all criteria of the use, perception and enjoyment of a building, not only practical but also aesthetic, psychological and cultural
Architecture
–
Brunelleschi, in the building of the dome of
Florence Cathedral in the early 15th-century, not only transformed the building and the city, but also the role and status of the architect.
Architecture
–
Section of
Brunelleschi 's dome drawn by the architect
Cigoli (c. 1600)
Architecture
–
The
Parthenon,
Athens,
Greece, "the supreme example among architectural sites."
(Fletcher).
Architecture
–
The
Houses of Parliament, Westminster, master-planned by
Charles Barry, with interiors and details by A.W.N. Pugin
9.
Monet
–
Monets ambition of documenting the French countryside led him to adopt a method of painting the same scene many times in order to capture the changing of light and the passing of the seasons. From 1883 Monet lived in Giverny, where he purchased a house and property, Claude Monet was born on 14 November 1840 on the fifth floor of 45 rue Laffitte, in the 9th arrondissement of Paris. He was the son of Claude Adolphe Monet and Louise Justine Aubrée Monet. On 20 May 1841, he was baptized in the parish church, Notre-Dame-de-Lorette, as Oscar-Claude. Despite being baptized Catholic, Monet later became an atheist, in 1845, his family moved to Le Havre in Normandy. His father wanted him to go into the familys ship-chandling and grocery business and his mother was a singer, and supported Monets desire for a career in art. On 1 April 1851, Monet entered Le Havre secondary school of the arts, locals knew him well for his charcoal caricatures, which he would sell for ten to twenty francs. Monet also undertook his first drawing lessons from Jacques-François Ochard, a student of Jacques-Louis David. On the beaches of Normandy around 1856 he met fellow artist Eugène Boudin, Boudin taught Monet en plein air techniques for painting. Both received the influence of Johan Barthold Jongkind, on 28 January 1857, his mother died. At the age of sixteen, he left school and went to live with his widowed, childless aunt, when Monet traveled to Paris to visit the Louvre, he witnessed painters copying from the old masters. Having brought his paints and other tools with him, he would go and sit by a window. Monet was in Paris for several years and met other painters, including Édouard Manet and others who would become friends. After drawing a low number in March 1861, Monet was drafted into the First Regiment of African Light Cavalry in Algeria for a seven-year period of military service. His prosperous father could have purchased Monets exemption from conscription but declined to do so when his son refused to give up painting. While in Algeria Monet did only a few sketches of scenes, a single landscape. In a Le Temps interview of 1900 however he commented that the light, after about a year of garrison duty in Algiers, Monet contracted typhoid fever and briefly went absent without leave. Following convalescence, Monets aunt intervened to get him out of the army if he agreed to complete a course at an art school and it is possible that the Dutch painter Johan Barthold Jongkind, whom Monet knew, may have prompted his aunt on this matter
Monet
–
Claude Monet, photo by
Nadar, 1899.
Monet
–
Impression, Sunrise (Impression, soleil levant), 1872; the painting that gave its name to the style.
Musée Marmottan Monet, Paris
Monet
–
The Woman in the Green Dress,
Camille Doncieux, 1866,
Kunsthalle Bremen
Monet
–
Le déjeuner sur l'herbe, (right section), 1865–1866, with
Gustave Courbet,
Frédéric Bazille and Camille Doncieux, first wife of the artist,
Musée d'Orsay,
Paris
10.
Museum of Modern Art
–
The Museum of Modern Art is an art museum located in Midtown Manhattan in New York City, on 53rd Street between Fifth and Sixth Avenues. MoMA has been important in developing and collecting modernist art, and is identified as one of the largest and most influential museums of modern art in the world. The MoMA Library includes approximately 300,000 books and exhibition catalogs, over 1,000 periodical titles, the archives holds primary source material related to the history of modern and contemporary art. The idea for The Museum of Modern Art was developed in 1929 primarily by Abby Aldrich Rockefeller and they became known variously as the Ladies, the daring ladies and the adamantine ladies. They rented modest quarters for the new museum in the Heckscher Building at 730 Fifth Avenue in Manhattan, and it opened to the public on November 7,1929, nine days after the Wall Street Crash. Abby had invited A. Conger Goodyear, the president of the board of trustees of the Albright Art Gallery in Buffalo, New York. At the time, it was Americas premier museum devoted exclusively to art. One of Abbys early recruits for the staff was the noted Japanese-American photographer Soichi Sunami. Goodyear enlisted Paul J. Sachs and Frank Crowninshield to join him as founding trustees, Sachs, the associate director and curator of prints and drawings at the Fogg Museum at Harvard University, was referred to in those days as a collector of curators. Goodyear asked him to recommend a director and Sachs suggested Alfred H. Barr, under Barrs guidance, the museums holdings quickly expanded from an initial gift of eight prints and one drawing. Its first successful exhibition was in November 1929, displaying paintings by Van Gogh, Gauguin, Cézanne. Abbys husband was opposed to the museum and refused to release funds for the venture. Nevertheless, he donated the land for the current site of the museum, plus other gifts over time. During that time it initiated many more exhibitions of noted artists, the museum also gained international prominence with the hugely successful and now famous Picasso retrospective of 1939–40, held in conjunction with the Art Institute of Chicago. In its range of presented works, it represented a significant reinterpretation of Picasso for future art scholars, Boy Leading a Horse was briefly contested over ownership with the Solomon R. Guggenheim Museum. In 1941, MoMA hosted the exhibition, Indian Art of the United States. His brother, David Rockefeller, also joined the board of trustees in 1948. David subsequently employed the noted architect Philip Johnson to redesign the garden and name it in honor of his mother
Museum of Modern Art
–
Museum of Modern Art
Museum of Modern Art
Museum of Modern Art
–
The entrance to The Museum of Modern Art
Museum of Modern Art
–
Stairs in the Museum of Modern Art
11.
Claude Monet
–
Monets ambition of documenting the French countryside led him to adopt a method of painting the same scene many times in order to capture the changing of light and the passing of the seasons. From 1883 Monet lived in Giverny, where he purchased a house and property, Claude Monet was born on 14 November 1840 on the fifth floor of 45 rue Laffitte, in the 9th arrondissement of Paris. He was the son of Claude Adolphe Monet and Louise Justine Aubrée Monet. On 20 May 1841, he was baptized in the parish church, Notre-Dame-de-Lorette, as Oscar-Claude. Despite being baptized Catholic, Monet later became an atheist, in 1845, his family moved to Le Havre in Normandy. His father wanted him to go into the familys ship-chandling and grocery business and his mother was a singer, and supported Monets desire for a career in art. On 1 April 1851, Monet entered Le Havre secondary school of the arts, locals knew him well for his charcoal caricatures, which he would sell for ten to twenty francs. Monet also undertook his first drawing lessons from Jacques-François Ochard, a student of Jacques-Louis David. On the beaches of Normandy around 1856 he met fellow artist Eugène Boudin, Boudin taught Monet en plein air techniques for painting. Both received the influence of Johan Barthold Jongkind, on 28 January 1857, his mother died. At the age of sixteen, he left school and went to live with his widowed, childless aunt, when Monet traveled to Paris to visit the Louvre, he witnessed painters copying from the old masters. Having brought his paints and other tools with him, he would go and sit by a window. Monet was in Paris for several years and met other painters, including Édouard Manet and others who would become friends. After drawing a low number in March 1861, Monet was drafted into the First Regiment of African Light Cavalry in Algeria for a seven-year period of military service. His prosperous father could have purchased Monets exemption from conscription but declined to do so when his son refused to give up painting. While in Algeria Monet did only a few sketches of scenes, a single landscape. In a Le Temps interview of 1900 however he commented that the light, after about a year of garrison duty in Algiers, Monet contracted typhoid fever and briefly went absent without leave. Following convalescence, Monets aunt intervened to get him out of the army if he agreed to complete a course at an art school and it is possible that the Dutch painter Johan Barthold Jongkind, whom Monet knew, may have prompted his aunt on this matter
Claude Monet
–
Claude Monet, photo by
Nadar, 1899.
Claude Monet
–
Impression, Sunrise (Impression, soleil levant), 1872; the painting that gave its name to the style.
Musée Marmottan Monet, Paris
Claude Monet
–
The Woman in the Green Dress,
Camille Doncieux, 1866,
Kunsthalle Bremen
Claude Monet
–
Le déjeuner sur l'herbe, (right section), 1865–1866, with
Gustave Courbet,
Frédéric Bazille and Camille Doncieux, first wife of the artist,
Musée d'Orsay,
Paris
12.
Neo-Impressionism
–
Neo-Impressionism is a term coined by French art critic Félix Fénéon in 1886 to describe an art movement founded by Georges Seurat. Around this time, the peak of France’s modern era emerged, followers of Neo-Impressionism, in particular, were drawn to modern urban scenes as well as landscapes and seashores. Science-based interpretation of lines and colors influenced Neo-Impressionists characterization of their own contemporary art, the Pointillist and Divisionist techniques are often mentioned in this context, because it was the dominant technique in the beginning of the Neo-impressionist movement. Some argue that Neo-Impressionism became the first true movement in painting. The Neo-Impressionists were able to create a movement very quickly in the 19th century, partially due to its connection to anarchism. The movement and the style were an attempt to drive harmonious vision from modern science, anarchist theory, during the emergence of Neo-Impressionism, Seurat and his followers strove to refine the impulsive and intuitive artistic mannerisms of Impressionism. Neo-impressionists used disciplined networks of dots and blocks of color in their desire to instill a sense of organization, in further defining the movement, Seurat incorporated the recent explanation of optic and color perceptions. The development of theory by Michel Eugène Chevreul and others by the late 19th century played a pivotal role in shaping the Neo-Impressionist style. Ogden Rood’s book, Modern Chromatics, with Applications to Art and Industry, acknowledged the different behaviors exhibited by colored light, while the mixture of the former created a white or gray color, that of the latter produced a dark, murky color. As painters, Neo-Impressionists had to deal with colored pigments, so to avoid the dullness, mixing of colors was not necessary. There are a number of alternatives to the term Neo-Impressionism and each has its own nuance and it emphasized the studies of color and light which were central to his artistic style. This term is used today. Divisionism, which is commonly used, is used to describe a mode of Neo-Impressionist painting. It refers to the method of applying individual strokes of complementary, unlike other designations of this era, the term Neo-Impressionism was not given as a criticism. Instead, it embraces Seurats and his followers ideals in their approach to art, note, Pointillism merely describes a later technique based on divisionism in which dots of color instead of blocks of color are applied. Neo-Impressionism was first presented to the public in 1886 at the Salon des Indépendants, the Indépendants remained their main exhibition space for decades with Signac acting as president of the association. But with the success of Neo-Impressionism, its fame spread quickly, in 1886, Seurat and Signac were invited to exhibit in the 8th and final Impressionist exhibition, later with Les XX and La Libre Esthétique in Brussels. In 1892, a group of Neo-Impressionist painters united to show their works in Paris, in the Salons of the Hôtel Brébant,32, the following year they exhibited at 20, rue Laffitte
Neo-Impressionism
–
A Sunday Afternoon on the Island of La Grande Jatte
Neo-Impressionism
–
Paul Signac, 1890, Portrait of
Félix Fénéon (in front of an enamel of a rhythmic background of measures and angles, shades and colors), oil on canvas, 73.7 x 92.5 cm (28.9 x 36.4 in.),
Museum of Modern Art, New York
Neo-Impressionism
–
Henri-Edmond Cross, The Evening Air (l'Air du soir), c.1893, oil on canvas, 116 x 164 cm,
Musée d'Orsay, Paris
Neo-Impressionism
–
Georges Seurat, Le Cirque, 1891, oil on canvas, 185 x 152 cm,
Musée d'Orsay, Paris
13.
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
–
Pierre-Auguste Renoir, Dance at Le Moulin de la Galette (
Bal du moulin de la Galette),
Musée d'Orsay, 1876
Impressionism
–
Édouard Manet,
The Luncheon on the Grass (Le déjeuner sur l'herbe), 1863
Impressionism
–
Alfred Sisley, View of the Saint-Martin Canal, Paris, 1870,
Musée d'Orsay
14.
St. Tropez
–
Saint-Tropez is a town,100 kilometres west of Nice, in the Var department of the Provence-Alpes-Côte dAzur region of southeastern France. It is also the town in the canton of Saint-Tropez. Saint-Tropez is located on the French Riviera and it was a military stronghold and an unassuming fishing village until the beginning of the 20th century. It was the first town on this coast to be liberated during World War II, after the war, it became an internationally known seaside resort, renowned principally because of the influx of artists of the French New Wave in cinema and the Yé-yé movement in music. It later became a resort for the European and American jet set and a goal for tourists in search of a little Provençal authenticity, the inhabitants of Saint-Tropez are called Tropéziens, and the town is familiarly called St-Trop. In 599 B. C. the Phocaeans founded Massilia and established other coastal mooring sites in the area, in 31 B. C. the Romans invaded the region. Their citizens built many opulent villas in the area, including one known as the Villa des Platanes, the first name given to the village which became Saint-Tropez was Heraclea-Caccaliera, and the mouth of its gulf was named the Issambres. The town owes its current name to the early, semi-legendary martyr Saint Torpes, the legend tells of his decapitation at Pisa during Neros reign, with his body placed in a rotten boat along with a rooster and a dog. The body landed at the location of the town. Toward the end of the century, long after the fall of the Roman Empire in the West, pirates and privateers began a hundred years of attacks. In the tenth century, the village of La Garde-Freinet was founded 15 km to the North of Saint-Tropez. From 890 to 972, Saint-Tropez and its surroundings became an Arab Muslim colony dominated by the nearby Saracenic settlement of Fraxinet. in 940, Saint-Tropez was controlled by Nasr ibn Ahmad. From 961 to 963, Audibert, son of Berenger, the pretender to the throne of Lombardy who was pursued by Otto I, in 972, the Muslims of Saint-Tropez held the abbot of Cluny, Maïeul, for ransom. In 976, William I Count of Provence, lord of Grimaud, began attacking the Muslims, in 1079 and 1218, Papal bulls mentioned the existence of a manor at Saint-Tropez. From 1436, Count René I tried to repopulate the Provence and he created the Barony of Grimaud and appealled to the Genoan Raphael de Garezzio, a wealthy gentleman who sent a fleet of caravels carrying sixty Genoese families to the area. In return, Count René promised to exempt the citizens from taxation, the city became a small republic with its own fleet and army and administered by two consuls and twelve elected councillors. In 1558, the Captain of City was empowered to protect the city, in 1577, the daughter of the Marquis Lord of Castellane, Genevieve de Castilla, married Jean-Baptiste de Suffren, Marquis de Saint-Cannet, Baron de La Môle, and advisor to the Parliament of Provence. The lordship of Saint-Tropez became the prerogative of the De Suffren family, in September 1615, Saint-Tropez was visited by a delegation led by the Japanese samurai Hasekura Tsunenaga who were on their way to Rome but obliged by weather to stop in Saint-Tropez
St. Tropez
–
Panoramic view of Saint-Tropez
St. Tropez
–
Aerial view of Saint-Tropez, with Pampelonne beach in background and the citadel and the port in the foreground
St. Tropez
–
Citadel of Saint-Tropez
St. Tropez
–
Saint-Tropez "le vieux port" (the old port)
15.
Albert Dubois-Pillet
–
Albert Dubois-Pillet was a French Neo-impressionist painter and a career army officer. He was instrumental in the founding of the Société des Artistes Indépendants, louis-Auguste-Albert Dubois was born on 28 October 1846 in Paris. Shortly thereafter, his family moved to Toulouse, where he was raised, in 1867, he graduated from lEcole Impériale Militaire in Saint-Cyr and began his career as a military officer. He remained in the army for the rest of his life, from 1870 to 1871, he served in the Franco-Prussian War, during which the Germans captured him and held him in Westphalia, Prussia as a prisoner of war. After his release, he resumed a post in the Versailles army, throughout the 1870s he was stationed at several different provincial posts. He received an appointment in 1879 or 1880 to la Légion de la Garde Républicaine in Paris, although self-taught, with no formal art education, he proved to be a talented artist. The official Paris Salon accepted one of his still lifes in 1877, however, after his arrival in Paris, he created paintings which were somewhat more experimental, and his submissions were rejected by The Salons from 1880 to 1883. In the book, artist Claude Lantier, distraught over his sons death, the Tuilleries Exhibition was a one-time event with a goal similar to that of 1863s Salon des Refusés which showed works that had been rejected by the Salon. Dubois-Pillet envisioned a permanent alternative to the official Salon and he met with some of the other exhibitors, and he, Georges Seurat, Paul Signac, and Odilon Redon became the founding fathers of the Société des Artistes Indépendants. Dubois-Pillet structured the organization and, within less than a week, wrote and published its statutes, the society was officially formed on 29 July 1884, and their first exhibition, which opened on 1 December 1884, included work by Dubois-Pillet. He used his connections to secure desirable venues and terms for their exhibitions, was the organizer of the group until 1888. Around 1885, probably influenced by his friendships with Seurat and others, he began experimenting with Divisionist techniques, by the next year, his works were fully Neo-impressionist. With Signac, he used pen and ink to create pointillist drawings, Dubois-Pillets studio-apartment served as the unofficial Neo-impressionist headquarters during the movements early years. Some of his pointillist work is composed with photographic precision, in 1886 he was ordered by the army to discontinue his participation in exhibiting his art, and to dissociate himself from Les Indépendants. Dubois-Pillet paid little attention to these orders and his only solo exhibition during his lifetime was in 1888, at the offices of French symbolist journal Revue Indépendante. Some of his pointillist drawings were published in La Vie moderne in 1887, Dubois-Pillet and Louis Hayet were the two Neo-impressionists who were most focused on the theoretical aspects and scientific basis of their art. How to apply his theory in practice wasnt entirely clear, the models identity is unknown, exhibition curators tended to, at best, identify subjects by the initial of their last name. The Musée dArt Moderne de Saint-Etienne refers to her as Madame P. in late 1889, Dubois-Pillet was transferred by the army to a post as commander of the gendarmerie in Le Puy-en-Velay, a south central French commune
Albert Dubois-Pillet
–
Albert Dubois-Pillet
Albert Dubois-Pillet
–
Flowers in Three Vases, c. 1879
Albert Dubois-Pillet
–
Detail from Enfant Mort, 1881
Albert Dubois-Pillet
–
Charlands Sur La-Seine
16.
Odilon Redon
–
Odilon Redon was a French symbolist painter, printmaker, draughtsman and pastellist. Odilon Redon was born in Bordeaux, Aquitaine, to a prosperous family, the young Bertrand-Jean Redon acquired the nickname Odilon from his mother, Odile. Redon started drawing as a child, and, at the age of ten and he began the formal study of drawing at fifteen, but, at his fathers insistence, he changed to architecture. Failure to pass the exams at Paris’ École des Beaux-Arts ended any plans for a career as an architect. Back in his native Bordeaux, he took up sculpting, and Rodolphe Bresdin instructed him in etching and his artistic career was interrupted in 1870 when he was drafted to serve in the army in the Franco-Prussian War until its end in 1871. At the end of the war, he moved to Paris and resumed working almost exclusively in charcoal and he called his visionary works, conceived in shades of black, his noirs. It was not until 1878 that his work gained any recognition with Guardian Spirit of the Waters, he published his first album of lithographs, titled Dans le Rêve, in 1879. Still, Redon remained relatively unknown until the appearance in 1884 of a novel by Joris-Karl Huysmans titled À rebours. The story featured a decadent aristocrat who collected Redons drawings, in the 1890s pastel and oils became his favored media, he produced no more noirs after 1900. In 1899, he exhibited with the Nabis at Durand-Ruels, Redon had a keen interest in Hindu and Buddhist religion and culture. The figure of the Buddha increasingly showed in his work, baron Robert de Domecy commissioned the artist in 1899 to create 17 decorative panels for the dining room of the Château de Domecy-sur-le-Vault near Sermizelles in Burgundy. The landscape details do not show a place or space. Only details of trees, twigs with leaves, and budding flowers in an endless horizon can be seen, the colours used are mostly yellow, grey, brown and light blue. The influence of the Japanese painting style found on folding screens byōbu is discernible in his choice of colours, fifteen of them are located today in the Musée dOrsay, acquisitioned in 1988. Domecy also commissioned Redon to paint portraits of his wife and their daughter Jeanne, most of the paintings remained in the Domecy family collection until the 1960s. In 1903 Redon was awarded the Legion of Honor, Redon died on July 6,1916. In 1923 Mellerio published Odilon Redon, Peintre Dessinateur et Graveur, an archive of Mellerios papers is held by the Ryerson & Burnham Libraries at the Art Institute of Chicago. The exhibition ran from October 30,2005 to January 23,2006, the Fondation Beyeler in Basel, Switzerland showed a retrospective from February to May 2014
Odilon Redon
–
Self-Portrait, 1880,
Musée d'Orsay
Odilon Redon
–
Arbres sur un fond jaune, one of the panels painted in 1901 for the dining room of the
Château de Domecy-sur-le-Vault
Odilon Redon
–
Caliban, 1881 (
Musée d'Orsay)
Odilon Redon
–
"Guardian Spirit of the Waters", 1878
17.
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
18.
Fauvism
–
While Fauvism as a style began around 1900 and continued beyond 1910, the movement as such lasted only a few years, 1904–1908, and had three exhibitions. The leaders of the movement were Henri Matisse and André Derain, the paintings of the Fauves were characterized by seemingly wild brush work and strident colors, while their subject matter had a high degree of simplification and abstraction. Fauvism can be classified as a development of Van Goghs Post-Impressionism fused with the pointillism of Seurat and other Neo-Impressionist painters. Other key influences were Paul Cézanne and Paul Gauguin, whose employment of areas of saturated color—notably in paintings from Tahiti—strongly influenced Derains work at Collioure in 1905, in 1888 Gauguin had said to Paul Sérusier, How do you see these trees. So, put in yellow, this shadow, rather blue, paint it with pure ultramarine, Fauvism can also be seen as a mode of Expressionism. Moreaus broad-mindedness, originality and affirmation of the potency of pure color was inspirational for his students. Matisse said of him, He did not set us on the right roads and this source of empathy was taken away with Moreaus death in 1898, but the artists discovered other catalysts for their development. In 1896, Matisse, then an art student, visited the artist John Peter Russell on the island of Belle Île off the coast of Brittany. The next year he returned as Russells student and abandoned his earth-colored palette for bright Impressionist colors, later stating, Russell was my teacher, Russell had been a close friend of Vincent van Gogh and gave Matisse a Van Gogh drawing. In parallel with the discovery of contemporary avant-garde art came an appreciation of pre-Renaissance French art. Another aesthetic influence was African sculpture, of which Vlaminck, Derain, many of the Fauve characteristics first cohered in Matisses painting, Luxe, Calme et Volupté, which he painted in the summer of 1904, whilst in Saint-Tropez with Paul Signac and Henri-Edmond Cross. The artists shared their first exhibition at the 1905 Salon dAutomne, Henri Rousseau was not a Fauve, but his large jungle scene The Hungry Lion Throws Itself on the Antelope was exhibited near Matisses work and may have had an influence on the pejorative used. Vauxcelles comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, the pictures gained considerable condemnation—A pot of paint has been flung in the face of the public, wrote the critic Camille Mauclair —but also some favorable attention. Matisses Neo-Impressionist landscape, Luxe, Calme et Volupté, had already exhibited at the Salon des Indépendants in the spring of 1905. Art history History of painting Neo-Fauvism Visual arts Western painting Gerdts, the Color of Modernism, The American Fauves. Spivey, Virginia, Fauvism, Smarthistory at Khan Academy Whitfield, Fauve Painting from the Permanent Collection at the National Gallery of Art Fauvism, The Wild Beasts of Early Twentieth Century Art Rewald, Sabine. New York, The Metropolitan Museum of Art Gelett Burgess, The Wild Men of Paris, Matisse, Picasso and Les Fauves,1910
Fauvism
–
Henri Matisse, Portrait of Madame Matisse (The
Green Stripe), 1906,
Statens Museum for Kunst,
Copenhagen, Denmark
Fauvism
–
Press clipping, Les Fauves: Exhibition at the
Salon d'Automne, in L'Illustration, 4 November 1905
Fauvism
–
Henri Matisse.
Woman with a Hat, 1905.
San Francisco Museum of Modern Art.
Fauvism
–
Henri Matisse,
Luxe, Calme et Volupté, 1904, oil on canvas, 98 x 118.5 cm,
Musée d'Orsay, Paris, France
19.
French Riviera
–
The Côte dAzur, often known in English as the French Riviera, is the Mediterranean coastline of the southeast corner of France, also including the sovereign state of Monaco. There is no boundary, but it is usually considered to extend from the Italian border in the east to Saint-Tropez, Hyères, Toulon. This coastline was one of the first modern resort areas and it began as a winter health resort for the British upper class at the end of the 18th century. In the summer, it played home to many members of the Rothschild family. After World War II, it became a popular tourist destination and convention site, many celebrities, such as Elton John and Brigitte Bardot, have homes in the region. Officially, the Côte dAzur is home to 163 nationalities with 83,962 foreign residents and its largest city is Nice, which has a population of 347,060. The city is the center of a communauté urbaine – Nice-Côte dAzur – bringing together 24 communes, Nice is home to Nice Côte dAzur Airport, Frances third-busiest airport, which is on an area of partially reclaimed coastal land at the western end of the Promenade des Anglais. A second airport at Mandelieu was once the commercial airport. The A8 autoroute runs through the region, as does the old main road known as the Route nationale 7. Trains serve the region and inland to Grasse, with the TGV Sud Est service reaching Nice-Ville station in five. The French Riviera has a population of more than two million. The region has 35,000 students, of whom 25 percent are working toward a doctorate, the French Riviera is a major yachting and cruising area with several marinas along its coast. As a tourist center, French Riviera benefits from 310 to 330 days of sunshine per year,115 kilometres of coastline, the name Côte dAzur was given to the coast by the writer Stéphen Liégeard in his book, La Côte d’azur, published in December 1887. Liégeard was born in Dijon, in the French department of Côte-dOr, the term French Riviera is typical of English use. It was built by analogy with the term Italian Riviera, which extends east of the French Riviera. As early as the 19th century, the British referred to the region as the Riviera or the French Riviera, usually referring to the part of the coast. Originally, riviera is an Italian noun which means coastline, in Occitan and French, the only usual names are Còsta dAzur in Occitan and Côte dAzur in French. A name like French Riviera is unusual and sounds odd, it could work as a word-to-word translation of the British point of view
French Riviera
–
The lighthouse of Nice, on the French Riviera
French Riviera
–
Map showing the extent of the Côte d'Azur.
French Riviera
–
View of Port Hercule, Monaco
French Riviera
–
The Old Town district of
Menton, which is the last town on the Côte d'Azur before the Italian frontier.
20.
Henri-Edmond Cross
–
Henri-Edmond Cross, born Henri-Edmond-Joseph Delacroix, was a French painter and printmaker. He is most acclaimed as a master of Neo-Impressionism and he played an important role in shaping the second phase of that movement and he was a significant influence on Henri Matisse and many other artists. His work was instrumental in the development of Fauvism, Henri-Edmond-Joseph Delacroix was born in Douai, a commune in the Nord départment in northern France, on 20 May 1856. His parents, with a history of ironmongery, were Alcide Delacroix, a French adventurer. In 1865 the family moved to a location near Lille, a northern French city close to the Belgian border, alcides cousin, Dr. Henri was Durans protégé for a year. His studies continued for a time in Paris in 1875 with François Bonvin before returning to Lille. He studied at the École des Beaux-Arts, and in 1878 he enrolled at the Écoles Académiques de Dessin et dArchitecture and his art education continued, under fellow Douai artist Émile Dupont-Zipcy, after moving to Paris in 1881. Crosss early works, portraits and still lifes, were in the colors of Realism. 1881 was also the year of his first exhibition at the Salon des Artistes Français and he painted many landscapes on an 1883 trip to the Alpes-Maritimes, accompanied by his family. Dr. Soins, who was also along on the trip, was the subject of a painting that Cross exhibited at Nices Exposition Universelle later in the year, during the Mediterranean trip, Cross met Paul Signac, who became a close friend and artistic influence. In 1884 Cross co-founded the Société des Artistes Indépendants, which consisted of artists displeased with the practices of the official Salon, there, he met and became friends with many artists involved in the Neo-Impressionist movement, including Georges Seurat, Albert Dubois-Pillet, and Charles Angrand. Despite his association with the Neo-Impressionists, Cross did not adopt their style for many years and his work continued to manifest influences such as Jules Bastien-Lepage and Édouard Manet, as well as the Impressionists. The change from his early, somber, Realist work was gradual and his color palette became lighter, working in the brighter colors of Impressionism. He also worked en plein air, in the latter part of the 1880s, he painted pure landscapes that showed the influence of Claude Monet and Camille Pissarro. In about 1886, again attempting to differentiate himself from another French artist – this time, Henri Cros – he again changed his name, in 1891 Cross began painting in the Neo-Impressionist style, and exhibited his first large piece using this technique in an Indépendants show. That painting was a divisionist portrait of Madame Hector France, née Irma Clare, robert Rosenblum wrote that the picture is softly charged with a granular, atmospheric glow. Cross had wintered in the south of France from 1883 onward, until, suffering from rheumatism and his works were still exhibited in Paris. Crosss affinity with the Neo-Impressionist movement extended beyond the style to include their political philosophies
Henri-Edmond Cross
–
Self-Portrait with Cigarette, 1880
Henri-Edmond Cross
–
Madame Hector France, 1891,
Musée d'Orsay
Henri-Edmond Cross
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The farm, evening, 1893, Private collection
Henri-Edmond Cross
–
L'air du soir, c.1893,
Musée d'Orsay
21.
Wallraf-Richartz Museum
–
The Wallraf-Richartz-Museum & Fondation Corboud is one of the three major museums in Cologne, Germany. It houses an art gallery with a collection of art from the medieval period to the early twentieth century. The museum dates back to the year 1824, when the collection of medieval art from Franz Ferdinand Wallraf came to the city of Cologne by inheritance. The first building was donated by Johann Heinrich Richartz, and the museum was opened in 1861, the collection was regularly expanded by donations, especially the Haubrich collection of contemporary art, in 1946. In 1976, on the occasion of the donation of Mr. and Mrs. Ludwig, the new Museum Ludwig took over the exhibition of the 20th century art. The current building from 2001, near the Cologne City Hall, was designed by Oswald Mathias Ungers, also in 2001, Swiss collector Gérard Corboud gave his impressionist and postimpressionist collection of over 170 works to the museum as a permanent loan. The museum then added Fondation Corboud to its name, the Madonna in the Rose Bower, shown at right, is among the Gothic paintings in the collection of the Wallraf-Richartz Museum. It was created by Stefan Lochner, who lived in Germany between 1410 and 1451, mainly working in Cologne and he is considered a late Gothic painter. His work usually has an appearance, combining the Gothic attention to long flowing lines with brilliant colors. This painting is considered typical of his style and it was executed about 1450, and shows the Virgin and Child reposing in a blooming rose arbor that is attended by Lochners characteristic, child angels. The Wallraf-Richartz-Museum houses an altarpiece from the Great Saint Martin Church in Cologne, one of the few works by Jacob van Utrecht. Among other early Renaissance works in the collection are the Adoration of the Child by Hieronymous Bosch, the Wallraf-Richartz collection includes Child among staked roses or Kind zwischen Stockrosen, which was painted by the Impressionist painter Berthe Morisot, in 1881. In 1864, paintings by Morisot began to be admitted for exhibition in the highly esteemed Salon de Paris, morisots work continued to be selected for exhibition in the salon for ten years before, in 1874, she joined the rejected Impressionists in the first of their own exhibitions. Organized by Cézanne, Degas, Monet, Morisot, Pissarro, Renoir, on February 14,2008, the Wallraf-Richartz Museum announced that On the Banks of the Seine by Port Villez, attributed to Claude Monet, was a forgery. The discovery was made when the painting was examined by restorers prior to an upcoming Impressionism exhibition, x-ray and infrared testing revealed that a colorless substance had been applied to the canvas to make it appear older. The picture was acquired by the museum in 1954, the museum, which will keep the forgery, still has five authentic Monet paintings in its collection
Wallraf-Richartz Museum
–
Wallraf-Richartz-Museum
Wallraf-Richartz Museum
–
Miraculous catch of fish (1610) by
Peter Paul Rubens.
Wallraf-Richartz Museum
–
Madonna in the Rose Bower, by
Stefan Lochner, 1448
Wallraf-Richartz Museum
–
Child among staked roses, by
Berthe Morisot, 1881.
22.
Vincent van Gogh
–
Vincent Willem van Gogh was a Dutch Post-Impressionist painter who is among the most famous and influential figures in the history of Western art. In just over a decade he created about 2,100 artworks, including around 860 oil paintings and his suicide at 37 followed years of mental illness and poverty. Born into a family, Van Gogh drew as a child and was serious, quiet. As a young man he worked as an art dealer, often travelling and he turned to religion, and spent time as a Protestant missionary in southern Belgium. He drifted in ill health and solitude before taking up painting in 1881 and his younger brother Theo supported him financially, and the two kept up a long correspondence by letter. His early works, mostly still lifes and depictions of peasant labourers, in 1886 he moved to Paris, where he met members of the avant-garde, including Émile Bernard and Paul Gauguin, who were reacting against the Impressionist sensibility. As his work developed he created a new approach to still lifes and his paintings grew brighter in colour as he developed a style that became fully realised during his stay in Arles in the south of France in 1888. During this period he broadened his subject matter to include trees, cypresses, wheat fields. Van Gogh suffered from episodes and delusions and though he worried about his mental stability, he often neglected his physical health, did not eat properly. His friendship with Gauguin ended after a confrontation with a razor and he spent time in psychiatric hospitals, including a period at Saint-Rémy. After he discharged himself and moved to the Auberge Ravoux in Auvers-sur-Oise near Paris and his depression continued and on 27 July 1890, Van Gogh shot himself in the chest with a revolver. He died from his injuries two days later, Van Gogh was unsuccessful during his lifetime, and was considered a madman and a failure. He became famous after his suicide, and exists in the imagination as the quintessential misunderstood genius. His reputation began to grow in the early 20th century as elements of his style came to be incorporated by the Fauves. The most comprehensive source on Van Gogh is the correspondence between him and his younger brother, Theo. Their lifelong friendship, and most of what is known of Vincents thoughts, Theo van Gogh was an art dealer and provided his brother with financial and emotional support, and access to influential people on the contemporary art scene. Theo kept all of Vincents letters to him, Vincent kept few of the letters he received, after both had died, Theos widow Johanna arranged for the publication of some of their letters. A few appeared in 1906 and 1913, the majority were published in 1914, Vincents letters are eloquent and expressive and have been described as having a diary-like intimacy, and read in parts like autobiography
Vincent van Gogh
–
Self-Portrait, Spring 1887, Oil on pasteboard, 42 × 33.7 cm.,
Art Institute of Chicago (F 345)
Vincent van Gogh
–
Vincent c. 1871-1872 aged 18. This photograph was taken at the time when he was working at the branch of
Goupil & Cie 's gallery in
The Hague.
Vincent van Gogh
–
Vincent c. 1866, approx. age 13
Vincent van Gogh
–
Van Gogh's drawing of
87 Hackford Road
23.
Arles
–
Arles is a city and commune in the south of France, in the Bouches-du-Rhône department, of which it is a subprefecture, in the former province of Provence. A large part of the Camargue is located on the territory of the commune, the city has a long history, and was of considerable importance in the Roman province of Gallia Narbonensis. The Roman and Romanesque Monuments of Arles were listed as UNESCO World Heritage Sites in 1981, the Dutch post-Impressionist painter Vincent van Gogh lived in Arles from 1888 to 1889 and produced over 300 paintings and drawings during his time there. An international photography festival has held in the city since 1970. The river Rhône forks into two branches just upstream of Arles, forming the Camargue delta and its area is 758.93 km2, which is more than seven times the area of Paris. Arles has a Mediterranean climate with an annual temperature of 14.6 °C. The summers are warm and moderately dry, with averages between 22 °C and 24 °C, and mild winters with a mean temperature of about 7 °C. The city is constantly, but especially in the months, subject to the influence of the mistral. Rainfall is fairly evenly distributed from September to May, with the summer drought being less marked than in other Mediterranean areas, the Ligurians were in this area from about 800 BC. Later, Celtic influences have been discovered, the city became an important Phoenician trading port, before being taken by the Romans. The Romans took the town in 123 BC and expanded it into an important city, however, it struggled to escape the shadow of Massalia further along the coast. Its chance came when it sided with Julius Caesar against Pompey, Massalia backed Pompey, when Caesar emerged victorious, Massalia was stripped of its possessions, which were transferred to Arelate as a reward. The town was established as a colony for veterans of the Roman legion Legio VI Ferrata. Its full title as a colony was Colonia Iulia Paterna Arelatensium Sextanorum, Arelate was a city of considerable importance in the province of Gallia Narbonensis. It covered an area of some 99 acres and possessed a number of monuments, including an amphitheatre, triumphal arch, Roman circus, theatre, ancient Arles was closer to the sea than it is now and served as a major port. It also had the southernmost bridge on the Rhône, very unusually, the Roman bridge was not fixed but consisted of a pontoon-style bridge of boats, with towers and drawbridges at each end. The boats were secured in place by anchors and were tethered to twin towers built just upstream of the bridge and this unusual design was a way of coping with the rivers frequent violent floods, which would have made short work of a conventional bridge. Nothing remains of the Roman bridge, which has replaced by a more modern bridge near the same spot
Arles
–
Left bank of the Rhône in Arles
Arles
–
Arles Amphitheatre, a Roman arena.
Arles
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Passageway in Roman arena
Arles
–
Church of St. Trophime and its cloister.
24.
Genoa
–
Genoa is the capital of the Italian region of Liguria and the sixth-largest city in Italy. In 2015,594,733 people lived within the administrative limits. As of the 2011 Italian census, the Province of Genoa, over 1.5 million people live in the wider metropolitan area stretching along the Italian Riviera. Genoa has been nicknamed la Superba due to its glorious past, part of the old town of Genoa was inscribed on the World Heritage List in 2006. The citys rich history in notably its art, music. It is the birthplace of Christopher Columbus, Niccolò Paganini, Giuseppe Mazzini, Genoa, which forms the southern corner of the Milan-Turin-Genoa industrial triangle of north-west Italy, is one of the countrys major economic centres. The city has hosted massive shipyards and steelworks since the 19th century, the Bank of Saint George, founded in 1407, is among the oldest in the world and has played an important role in the citys prosperity since the middle of the 15th century. Today a number of leading Italian companies are based in the city, including Fincantieri, Selex ES, Ansaldo Energia, Ansaldo STS, Edoardo Raffinerie Garrone, Piaggio Aerospace, the Genoa area has been inhabited since the fifth or fourth millennium BC. In ancient times this area was frequented and inhabited by Ligures, Phoenicians, Phocaeans, Greeks, and Etruscans. The city cemetery, dating from the 6th and 5th centuries BC, testifies to the occupation of the site by the Greeks, but the fine harbour probably saw use much earlier, perhaps by the Etruscans. In the 5th century BC was founded the first oppidum at the foot of the today called the Castle Hill which now is inside the medieval old town. The ancient Ligurian city was known as Stalia, so referred to by Artemidorus Ephesius and Pomponius Mela, Ligurian Stalia was overshadowed by the powerful Marseille and Vada Sabatia, near modern Savona. Stalia had an alliance with Rome through a foedus aequum in the course of the Second Punic War, the Carthaginians accordingly destroyed it in 209 BC. The town was rebuilt and, after the Carthaginian Wars ended in 146 BC. it received municipal rights, the original castrum thenceforth expanded towards the current areas of Santa Maria di Castello and the San Lorenzo promontory. Trades included skins, wood, and honey, goods were shipped to the mainland, up to major cities like Tortona and Piacenza. Among the archeological remains from the Roman period, an amphitheatre was also found, another theory traces the name to the Etruscan word Kainua which means New City and still another from the Latin word ianua, related to the name of the God Janus, meaning door or passage. The latter is in reference to its position at the centre of the Ligurian coastal arch. The Latin name, oppidum Genua, is recorded by Pliny the Elder as part of the Augustean Regio IX Liguria, after the fall of the Western Roman Empire, the Ostrogoths occupied Genoa
Genoa
–
A collage of Genoa, clockwise from top left:
Torre della Lanterna,
Piazza de Ferrari, Galleria Mazzini, Brigata Liguria Street, view of San Teodoro from
Port of Genoa
Genoa
–
The Polcevera bronze tablet, evidence of the Roman and pre-Roman past of Genoa.
Genoa
–
Portrait of
Christopher Columbus by
Ridolfo Ghirlandaio
Genoa
–
The iconic
Lanterna, renaissance lighthouse of Genoa built in 1543
25.
Florence
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Florence is the capital city of the Italian region of Tuscany and of the Metropolitan City of Florence. It is the most populous city in Tuscany, with 383,083 inhabitants, Florence was a centre of medieval European trade and finance and one of the wealthiest cities of the time. It is considered the birthplace of the Renaissance, and has called the Athens of the Middle Ages. A turbulent political history includes periods of rule by the powerful Medici family, from 1865 to 1871 the city was the capital of the recently established Kingdom of Italy. The Historic Centre of Florence attracts 13 million tourists each year and it was declared a World Heritage Site by UNESCO in 1982. The city is noted for its culture, Renaissance art and architecture, the city also contains numerous museums and art galleries, such as the Uffizi Gallery and the Palazzo Pitti, and still exerts an influence in the fields of art, culture and politics. Due to Florences artistic and architectural heritage, it has been ranked by Forbes as one of the most beautiful cities in the world, in 2008, the city had the 17th highest average income in Italy. Florence originated as a Roman city, and later, after a period as a flourishing trading and banking medieval commune. According to the Encyclopædia Britannica, it was politically, economically, and culturally one of the most important cities in Europe, the language spoken in the city during the 14th century was, and still is, accepted as the Italian language. Starting from the late Middle Ages, Florentine money—in the form of the gold florin—financed the development of all over Europe, from Britain to Bruges, to Lyon. Florentine bankers financed the English kings during the Hundred Years War and they similarly financed the papacy, including the construction of their provisional capital of Avignon and, after their return to Rome, the reconstruction and Renaissance embellishment of Rome. Florence was home to the Medici, one of European historys most important noble families, Lorenzo de Medici was considered a political and cultural mastermind of Italy in the late 15th century. Two members of the family were popes in the early 16th century, Leo X, catherine de Medici married king Henry II of France and, after his death in 1559, reigned as regent in France. Marie de Medici married Henry IV of France and gave birth to the future king Louis XIII, the Medici reigned as Grand Dukes of Tuscany, starting with Cosimo I de Medici in 1569 and ending with the death of Gian Gastone de Medici in 1737. The Etruscans initially formed in 200 BC the small settlement of Fiesole and it was built in the style of an army camp with the main streets, the cardo and the decumanus, intersecting at the present Piazza della Repubblica. Situated along the Via Cassia, the route between Rome and the north, and within the fertile valley of the Arno, the settlement quickly became an important commercial centre. Peace returned under Lombard rule in the 6th century, Florence was conquered by Charlemagne in 774 and became part of the Duchy of Tuscany, with Lucca as capital. The population began to again and commerce prospered
Florence
–
A collage of Florence showing the
Galleria degli Uffizi (top left), followed by the
Palazzo Pitti, a sunset view of the city and the
Fountain of Neptune in the
Piazza della Signoria
Florence
–
A wooden model of Florence as it would have probably looked during Roman times, showing the ancient amphitheatre
Florence
–
The façade of the Cathedral
Florence
–
Leonardo da Vinci statue outside the
Uffizi Gallery.
26.
Naples
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Naples is the capital of the Italian region Campania and the third-largest municipality in Italy, after Rome and Milan. In 2015, around 975,260 people lived within the administrative limits. The Metropolitan City of Naples had a population of 3,115,320, Naples is the 9th-most populous urban area in the European Union with a population of between 3 million and 3.7 million. About 4.4 million people live in the Naples metropolitan area, Naples is one of the oldest continuously inhabited cities in the world. Bronze Age Greek settlements were established in the Naples area in the second millennium BC, a larger colony – initially known as Parthenope, Παρθενόπη – developed on the Island of Megaride around the ninth century BC, at the end of the Greek Dark Ages. Naples remained influential after the fall of the Western Roman Empire, thereafter, in union with Sicily, it became the capital of the Two Sicilies until the unification of Italy in 1861. Naples was the most-bombed Italian city during World War II, much of the citys 20th-century periphery was constructed under Benito Mussolinis fascist government, and during reconstruction efforts after World War II. The city has experienced significant economic growth in recent decades, and unemployment levels in the city, however, Naples still suffers from political and economic corruption, and unemployment levels remain high. Naples has the fourth-largest urban economy in Italy, after Milan, Rome and it is the worlds 103rd-richest city by purchasing power, with an estimated 2011 GDP of US$83.6 billion. The port of Naples is one of the most important in Europe, numerous major Italian companies, such as MSC Cruises Italy S. p. A, are headquartered in Naples. The city also hosts NATOs Allied Joint Force Command Naples, the SRM Institution for Economic Research, Naples is a full member of the Eurocities network of European cities. The city was selected to become the headquarters of the European institution ACP/UE and was named a City of Literature by UNESCOs Creative Cities Network, the Villa Rosebery, one of the three official residences of the President of Italy, is located in the citys Posillipo district. Naples historic city centre is the largest in Europe, covering 1,700 hectares and enclosing 27 centuries of history, Naples has long been a major cultural centre with a global sphere of influence, particularly during the Renaissance and Enlightenment eras. In the immediate vicinity of Naples are numerous culturally and historically significant sites, including the Palace of Caserta, culinarily, Naples is synonymous with pizza, which originated in the city. Neapolitan music has furthermore been highly influential, credited with the invention of the romantic guitar, according to CNN, the metro stop Toledo is the most beautiful in Europe and it won also the LEAF Award 2013 as Public building of the year. Naples is the Italian city with the highest number of accredited stars from the Michelin Guide, Naples sports scene is dominated by football and Serie A club S. S. C. Napoli, two-time Italian champions and winner of European trophies, who play at the San Paolo Stadium in the south-west of the city, the Phlegraean Fields around Naples has been inhabited since the Neolithic period. The earliest Greek settlements were established in the Naples area in the second millennium BC, sailors from the Greek island of Rhodes established a small commercial port called Parthenope on the island of Megaride in the ninth century BC
Naples
–
Naples Napoli
Naples
–
Ancient map of the Bay of Naples area from Vatican Museum
Naples
–
A scene featuring the
siren Parthenope, the mythological founder of Naples.
Naples
–
The
Gothic Battle of Mons Lactarius on
Vesuvius, painted by
Alexander Zick.
27.
Anarchist
–
Anarchism is a political philosophy that advocates self-governed societies based on voluntary institutions. These are often described as stateless societies, although several authors have defined them more specifically as institutions based on non-hierarchical free associations, Anarchism holds the state to be undesirable, unnecessary, and harmful. While anti-statism is central, anarchism entails opposing authority or hierarchical organisation in the conduct of all relations, including, but not limited to. Anarchism does not offer a fixed body of doctrine from a particular world view. Many types and traditions of anarchism exist, not all of which are mutually exclusive, Anarchist schools of thought can differ fundamentally, supporting anything from extreme individualism to complete collectivism. Strains of anarchism have often divided into the categories of social. The term anarchism is a word composed from the word anarchy and the suffix -ism, themselves derived respectively from the Greek ἀναρχία, i. e. anarchy. The first known use of this word was in 1539, various factions within the French Revolution labelled opponents as anarchists although few shared many views of later anarchists. The first political philosopher to call himself an anarchist was Pierre-Joseph Proudhon, on the other hand, some use libertarianism to refer to individualistic free-market philosophy only, referring to free-market anarchism as libertarian anarchism. The earliest anarchist themes can be found in the 6th century BC, among the works of Taoist philosopher Laozi, zhuangzis philosophy has been described by various sources as anarchist. Zhuangzi wrote, A petty thief is put in jail, a great brigand becomes a ruler of a Nation. Diogenes of Sinope and the Cynics, their contemporary Zeno of Citium, Jesus is sometimes considered the first anarchist in the Christian anarchist tradition. Georges Lechartier wrote that The true founder of anarchy was Jesus Christ, the first anarchist society was that of the apostles. This is exemplified when the glorification of the state is viewed as a form of sinful idolatry, the French renaissance political philosopher Étienne de La Boétie wrote in his most famous work the Discourse on Voluntary Servitude what some historians consider an important anarchist precedent. The radical Protestant Christian Gerrard Winstanley and his group the Diggers are cited by authors as proposing anarchist social measures in the 17th century in England. The term anarchist first entered the English language in 1642, during the English Civil War, as a term of abuse, used by Royalists against their Roundhead opponents. By the time of the French Revolution some, such as the Enragés, began to use the term positively, in opposition to Jacobin centralisation of power, by the turn of the 19th century, the English word anarchism had lost its initial negative connotation. Modern anarchism emerged from the secular or religious thought of the Enlightenment, as part of the political turmoil of the 1790s in the wake of the French Revolution, William Godwin developed the first expression of modern anarchist thought
Anarchist
–
William Godwin, "the first to formulate the political and economical conceptions of anarchism, even though he did not give that name to the ideas developed in his work".
Anarchist
–
A sympathetic engraving by
Walter Crane of the executed "Anarchists of Chicago" after the
Haymarket affair. The Haymarket affair is generally considered the most significant event for the origin of international May Day observances.
Anarchist
–
Italian-American anarchist
Luigi Galleani. His followers, known as Galleanists, carried out a series of bombings and assassination attempts from 1914 to 1932 in what they saw as attacks on 'tyrants' and 'enemies of the people'
28.
Kropotkin
–
Prince Pyotr Alexeyevich Kropotkin was a Russian activist, scientist, and philosopher, who advocated anarchism. Born into an aristocratic land-owning family, he attended a school and later served as an officer in Siberia. He was imprisoned for his activism in 1874 and managed to escape two years later and he spent the next 41 years in exile in Switzerland, France and in England. He returned to Russia after the Russian Revolution in 1917 but was disappointed by the Bolshevik form of state socialism, Kropotkin was a proponent of a decentralised communist society free from central government and based on voluntary associations of self-governing communities and worker-run enterprises. He also contributed the article on anarchism to the Encyclopædia Britannica Eleventh Edition, Kropotkin was born in Moscow, into the second-highest level of the Russian aristocracy. His mother was the daughter of a Cossack general and his father, Alexei Petrovich Kropotkin, was a prince in Smolensk, of the Rurik dynasty which had ruled Russia before the rise of the Romanovs. Kropotkins father owned large tracts of land and nearly 1,200 male serfs in three provinces, nder the influence of republican teachings, Kropotkin dropped his princely title at age 12, and even rebuked his friends, when they so referred to him. In 1857, at age 14, Kropotkin enrolled in the Corps of Pages at St. Petersburg, Kropotkins memoirs detail the hazing and other abuse of pages for which the Corps had become notorious. In Moscow, Kropotkin developed an interest in the condition of the peasantry, although his work as a page for Tsar Alexander II made Kropotkin skeptical about the tsars liberal reputation, Kropotkin was greatly pleased by the tsars decision to emancipate the serfs in 1861. In St. Petersburg, he read widely on his own account, in 1862, Kropotkin was promoted from the Corps of Pages to the army. The members of the corps had the right to choose the regiment to which they would be attached. For some time, he was aide de camp to the governor of Transbaikalia at Chita, later he was appointed attaché for Cossack affairs to the governor-general of East Siberia at Irkutsk. The expeditions yielded valuable geographical results, in 1866, Kropotkin began reading the works of the French anarchist Pierre-Joseph Proudhon, and other political thinkers such as John Stuart Mill and Alexander Herzen. These readings, along with his experiences among peasants in Siberia and his departure from a family tradition of military service prompted his father to disinherit him, leaving him a prince with no visible means of support. In 1871, he explored the glacial deposits of Finland and Sweden for the Society, accordingly, he refused the offer and returned to St. Petersburg, where he joined the revolutionary party. Kropotkin visited Switzerland in 1872 and became a member of the International Workingmens Association at Geneva, however, he found that he did not like IWAs style of socialism. Instead, he studied the programme of the more radical Jura federation at Neuchâtel and spent time in the company of the leading members, on returning to Russia, Kropotkins friend Dmitri Klements introduced him to the Circle of Tchaikovsky, a socialist/populist group created in 1872. Kropotkin worked to spread propaganda among peasants and workers
Kropotkin
–
Kropotkin c. 1900 (aged 57)
Kropotkin
–
Kropotkin in
Haparanda, 1917
Kropotkin
–
Kropotkin's friend and comrade
Emma Goldman delivers a eulogy before crowds at his funeral, accompanied by
Alexander Berkman.
29.
Jean Grave
–
Jean Grave was an important activist in the French anarchist movement. He was involved with Élisée Reclus Révolté, initially a socialist, he became an anarchist after 1880 and a popularizer of Peter Kropotkins ideas. In 1892 Grave wrote La société mourante et lanarchie, prefaced by Octave Mirbeau, Mirbeau, like Élisée Reclus, Paul Adam, and Bernard Lazare had testified on Graves behalf, but to no avail. The trial only popularised the book, which was translated into German, Spanish, Portuguese, Italian. An English translation by Voltairine De Cleyre appeared in 1899, Grave was acquitted in the Trial of the thirty. In 1895 he began publishing Les Temps nouveaux, which was influential in literary, many well-known artists illustrated and helped to finance the review. In 1914 Grave joined Kropotkin in England, and incurred the wrath of anti-war anarchists by signing the Manifesto of the Sixteen, Grave also wrote Le Mouvement libertaire sous la IIIe république. Louis Patsouras, Anarchism of Jean Grave, Jean Grave Page at the Daily Bleeds Anarchist Encyclopedia Moribund Society and Anarchy at the Hathi Trust digital library
Jean Grave
–
Jean Grave
30.
Maximilien Luce
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Maximilien Luce was a prolific French Neo-impressionist artist, known for his paintings, illustrations, engravings, and graphic art, and also for his anarchist activism. Starting as an engraver, he concentrated on painting, first as an Impressionist, then as a Pointillist. Maximilien-Jules-Constant Luce was born on 13 March 1858 in Paris and his parents, of modest means, were Charles-Désiré Luce, a railway clerk, and Louise-Joséphine Dunas. The family lived in the Montparnasse, a district of Paris. Luce attended school at lEcole communale, beginning in 1864, in 1872, the fourteen-year-old Luce became an apprentice with wood-engraver Henri-Théophile Hildebrand. During his three-year xylography apprenticeship, he took night classes in drawing from instructors Truffet. During this period, Luce started painting in oils and he moved with his family to the southern Paris suburb of Montrouge. His art education continued as he attended drawing classes taught by Diogène Maillard at the Gobelins tapestry factory, Luce began working in the studio of Eugène Froment in 1876, producing woodcut prints for various publications, including LIllustration and Londons The Graphic. He took additional art courses, at lAcadémie Suisse, and also in the studio of portrait painter Carolus-Duran, through Froments studio, Luce became friends with Léo Gausson and Émile-Gustave Cavallo-Péduzzi. These three artists spent time around Lagny-sur-Marne creating Impressionist landscapes, Luce spent four years in the military, starting in 1879, serving in Brittany at Guingamp. The next year, he received a promotion to corporal, and he became friends with Alexandre Millerand, in 1881 he requested the restoration of his lower rank of soldier, second class. Carolus-Duran used his influence to get a transfer for Luce to Paris barracks and his stint in the military came to a close in 1883. The prevalence of the new printing process rendered xylography nearly obsolete as a profession. When the opportunities for employment as an engraver became scarce, Luce shifted his focus to painting full-time in about 1883, Gausson and Cavallo-Péduzzi introduced Luce in about 1884 to the Divisionist technique developed by Georges Seurat. This influenced Luce to begin painting in the Pointillist style, in contrast to Seurats detached manner, Luces paintings were passionate portrayals of contemporary subjects, depicting the violent effects of light. He moved to Montmartre in 1887, Luce joined the Société des Artistes Indépendants and participated in their third spring exhibition, where Paul Signac purchased one of his pieces, La Toilette. Camille Pissarro and critic Félix Fénéon were also impressed by the seven Luce works displayed in the show, Fénéon characterized Luce as a coarse, honest man, with a rough and muscular talent. A New York Times critic declared this Pointillist period to be the pinnacle of Luces artistic career and he described the skillfully executed painting as a lyrical celebration of nature
Maximilien Luce
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Self-portrait, c. 1925–1930
Maximilien Luce
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The Artist's Room, rue Lavin, 1878
Maximilien Luce
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The Artis's Room, Morning, Interior The painting represents a close friend and a fellow
Neo-Impressionist Gustave Perrot.
Maximilien Luce
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The port of Saint-Tropez, 1893
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