1.
Renoir (film)
–
Renoir is a 2012 French drama film based on the last years of Renoir at Cagnes-sur-Mer during World War I. The film was directed by Gilles Bourdos and competed in the Un Certain Regard section at the 2012 Cannes Film Festival, the film is set in the south of France during World War I and stars Michel Bouquet, Christa Theret, Thomas Doret and Vincent Rottiers. In January 2014, the film received four nominations at the 39th César Awards, andrée was the link between two famous and widely acclaimed artists, a father and son. While the father is at the end his brilliant career, the son is searching for himself. Director Gilles Bourdos used the services of an art forger, Guy Ribes. The film-critics aggregator Rotten Tomatoes reported 69% of critics gave the film a review based on 65 reviews. Metacritic, which assigns a score out of 100, rated the film 64 based on 23 reviews
Renoir (film)
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Film poster
2.
Limoges
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Limoges is a city and commune, the capital of the Haute-Vienne department and the administrative capital of the Limousin in west-central France. Limoges is known for its medieval and Renaissance enamels on copper, for its 19th-century porcelain and for its oak barrels which are used for Cognac, some are even exported to wineries in California. Scarce remains of settlements have been found in the area of Limoges. The city proper was founded as Augustoritum by the Romans, around 10 BC, the foundation was part of the reorganization of the province by the emperor Augustus, hence the new name. The Roman city included an amphitheatre measuring 136 x 115 metres, a theatre, according to tradition, a temple consecrated to Venus, Diana, Minerva and Jupiter was located near the modern cathedral. The city was on the typical Roman square plan, with two main crossing in the centre. It had a Senate and a currency of its own, a sign of its importance in the imperial age, Limoges was evangelized by Saint Martial, who came to the city around 250 with two companions, Alpinianus and Austriclinienus. However, in the late 3rd century it was increasingly abandoned, the population was concentrated instead in a more easily fortifiable site, the modern Puy Saint-Étienne, which is the centre of the modern Limoges. Starting from the 11th century, thanks to the presence of the Abbey of St. Martial and its large library, Limoges became a flourishing artistic centre. It was home to an important school of music composition. In the 13th century, at the peak of its splendour, the town proper, with a new line of walls encompassing the Vienne River, inhabited mainly by clerks and workers. It has a bridge on the Vienne river named after Saint-Étienne, built by the bishops, sacked in 1370, it never recovered entirely. The castle, with 12 meter-high walls, including the abbey and controlled by the abbot, traces of the walls can still be seen in the city centre. Outside the lines of walls were the popular quarters, in 1370, Limoges was occupied by Edward, the Black Prince, who massacred some 300 residents, perhaps a sixth of the normal population, with another 60 members of the garrison of 140 dead as well. The city and castle were united in 1792 to form the city of Limoges. During the French Revolution several religious edifices, considered symbols of the Ancien Régime, were destroyed by the population, some years later the porcelain industry started to develop, favoured by the presence of kaolinite which was discovered near Limoges in 1768. Factories in Limoges and St Junien still produce luxury leather shoes, gloves, in the 19th century Limoges saw strong construction activity, which included the destruction and rebuilding of much of the city centre. The unsafe conditions of the population is highlighted by the outbreak of several riots, including that of July–November 1830
Limoges
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The city hall
Limoges
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Limoges enamel ciborium with
champlevé enamel, and center rim in
pseudo-Kufic script, circa 1200.
Limoges
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Yale Mobile Hospital Unit No. 39 stationed at the Limoges factory, Christmas, 1917
Limoges
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The Cathedral of Limoges
3.
Haute-Vienne
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Haute-Vienne is a French department named after the river Vienne. It is one of the 12 departments that constitute the French region of Nouvelle-Aquitaine. The neighbouring departments are, Creuse, Corrèze, Dordogne, Charente, Vienne, the chief and largest city in the department is Limoges, the other towns in the department each having fewer than twenty thousand inhabitants. Haute-Vienne is part of the Nouvelle-Aquitaine region and it is bordered by six departments, Creuse lies to the east, Corrèze to the south, Dordogne to the southwest, Charente to the west, Vienne to the northwest and Indre to the north. The department has two rivers which cross it from east to west, the Vienne, on which the two main cities, Limoges and Saint-Junien, are situated, and the Gartempe, a tributary of the Creuse. To the southeast of the department lies the Massif Central, the source of the Charente is in the department, in the commune of Chéronnac, near Rochechouart. Artefacts from the Bronze Age include axe heads found at Châlus, with the coming of the Romans, trade was opened up and gold and tin were mined. Agriculture developed and grapes were grown, amphorae for storing wine were found at Saint-Gence, during the reign of Augustus, the city of Augustoritum was founded at a strategic ford across the Vienne. The Romans built roads from here to Brittany, Lyon and the Mediterranean, the city declined in the 3rd Century when barbarian invasions of the region took place. The domination of the Visigoths was short-lived and Clovis I seized control of Limousin after the battle of Vouillé in 507, by 674, the region was attached to the duchy of Aquitaine, and the Viscount of Limoges was created. There followed a period with various powers vying for control. In 1199, Richard Cœur de Lion was mortally wounded during the siege of the Château de Châlus-Chabrol, the region was much involved in the Hundred Years War and at the Treaty of Brétigny in 1360, France granted England a large area of territory comprising much of Limousin. Limoges city rebelled and gave its allegiance to the French crown, after a revolt by the peasants, Henri IV brought peace and prosperity to the region of Limousin. He visited Limoges in 1607 and was greeted enthusiastically, the Counter-Reformation led to the creation of numerous convents and religious orders, especially in Limoges. In 1761, Anne Robert Jacques Turgot was appointed intendent of Limoges and he negotiated a reduction in taxes payable by the region and developed fairer methods of collecting taxes, as well as improving the road system and encouraging agricultural development. Around 1765, kaolin was discovered near Saint-Yrieix-la-Perche in the south of the department, at first it was given the number 81, but in the nineteenth century, the number was changed to the 87th department, when further land to the east and northeast was added. It takes its name from the reaches of the Vienne which flows through it. In 1998, the southwest part of the department, together with the part of the region of Périgord was designated as the Parc Naturel Régional Périgord-Limousin
Haute-Vienne
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Prefecture building of the Haute-Vienne department, in Limoges
Haute-Vienne
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Château de Montbrun
Haute-Vienne
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Ruins of
Oradour-sur-Glane
Haute-Vienne
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Saint-Yrieix-la-Perche
4.
Cagnes-sur-Mer
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It is also home to the only horse hippodrome in the French Riviera, which draws people from all over for its horse races. It is the largest extension to the city of Nice and lies to the west-southwest of it and it was the retreat and final address of the painter Pierre-Auguste Renoir, who moved there in 1907 in an attempt to improve his arthritis, and remained until his death in 1919. In the late 1920s, Cagnes-sur-Mer became a residence for many American renowned literary and art figures, such as Kay Boyle, George Antheil and Harry, parisian artist, poet, and philosopher Georges Charaire had a home In Cagnes for many years. Creating his lithographs in the studio of Paul Gaugin, and also as a co-founder of the Theatre du Tertre in Montmartre, he had a great influence on French art. He helped his friend Eugène Ionesco with his first plays at the Theatre du Tertre, Charaire kept his second home in Cagnes sur Mer until his death in 2001. nt Belarusian-French artist Chaim Soutine created powerful, fanciful landscapes of southern France. A friend of Amedeo Modigliani, Soutine left colourful landscapes from Cagnes from 1924 on, fauvist painter Francisco Iturrino also resided in the town where he died. The town may have been an inspiration for Neo-impressionist Henri-Edmond Cross and it is also known for its horse racing venue, the Hippodrome de la Côte dAzur, and a four-kilometre pebble beach. The Gare de Cagnes-sur-Mer railway station offers services in the directions of Nice. The commune is twinned with, Passau Communes of the Alpes-Maritimes department INSEE Official website Official tourism website The Weather in Cagnes Sur Mer
Cagnes-sur-Mer
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The old village of Haut-de-Cagnes as seen from the château
Cagnes-sur-Mer
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Cros-de-Cagnes
Cagnes-sur-Mer
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Landscape near Cagnes, by
Pierre-Auguste Renoir
Cagnes-sur-Mer
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Red Square,
winner of the
Grand Prix de la Ville de Nice (1974)
5.
Bal du moulin de la Galette
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Bal du moulin de la Galette is an 1876 painting by French artist Pierre-Auguste Renoir. It is housed at the Musée dOrsay in Paris and is one of Impressionisms most celebrated masterpieces, the painting depicts a typical Sunday afternoon at Moulin de la Galette in the district of Montmartre in Paris. In the late 19th century, working class Parisians would dress up and spend time there dancing, drinking, like other works of Renoirs early maturity, Bal du moulin de la Galette is a typically Impressionist snapshot of real life. It shows a richness of form, a fluidity of brush stroke, from 1879 to 1894 the painting was in the collection of the French painter Gustave Caillebotte, when he died it became the property of the French Republic as payment for death duties. From 1896 to 1929 the painting hung in the Musée du Luxembourg in Paris, from 1929 it hung in the Musée du Louvre until it was transferred to the Musée dOrsay in 1986. Renoir painted a version of the picture with the same title. The painting is now believed to be in a collection in Switzerland. Apart from their size, the two paintings are identical, although the smaller is painted in a more fluid manner than the dOrsay version. One is presumably a copy of the original, but it is not known which is the original, for many years it was owned by John Hay Whitney. On May 17,1990, his widow sold the painting for US$78 million at Sothebys in New York City to Ryoei Saito, the honorary chairman of Daishowa Paper Manufacturing Company, Japan. At the time of sale, it was one of the top two most expensive ever sold, together with van Goghs Portrait of Dr. Gachet. Saito caused international outrage when he suggested in 1991 that he intended to both paintings with him when he died. Although not known for certain, the painting is believed to be in the hands of a Swiss collector, as of January 2013 the Bal du moulin de la Galette is sixth on the list of most expensive paintings ever sold. In the first place, Renoir needed to set up a studio near the mill, a suitable studio was found at an abandoned cottage in the rue Cortot with a garden described by Rivière as a beautiful abandoned park. Several of Renoirs major works were painted in this garden at this time, the gardens and its buildings have been preserved as the Musée de Montmartre. Rivière identified several of the personalities in the painting and it is her sister Estelle who poses as the girl wearing a blue and pink striped dress. These two girls came to Le Moulin every Sunday with their family, with two younger sisters barely taller than the tables, and their mother and father, properly chaperoned by their mother. Beside her is a group consisting of Pierre-Franc Lamy and Norbert Goeneutte, fellow painters, behind her, amongst the dancers, are to be found Henri Gervex, Eugène Pierre Lestringuez and Paul Lhote
Bal du moulin de la Galette
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Bal du moulin de la Galette
Bal du moulin de la Galette
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Smaller version
Bal du moulin de la Galette
–
La balançoire 1876
6.
Luncheon of the Boating Party
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Luncheon of the Boating Party is a painting by French impressionist Pierre-Auguste Renoir. Included in the Seventh Impressionist Exhibition in 1882, it was identified as the best painting in the show by three critics and it was purchased from the artist by the dealer-patron Paul Durand-Ruel and bought in 1923 from his son by Duncan Phillips. It is now in The Phillips Collection in Washington, D. C and it shows a richness of form, a fluidity of brush stroke, and a flickering light. The painter and art patron, Gustave Caillebotte, is seated in the lower right, Renoirs future wife, Aline Charigot, is in the foreground playing with a small dog, an affenpinscher. On the table is fruit and wine, in this painting Renoir has captured a great deal of light. The main focus of light is coming from the opening in the balcony. The singlets of both men in the foreground and the all work together to reflect this light and send it through the whole composition. As he often did in his paintings, Renoir included several of his friends in Luncheon of the Boating Party, identification of the sitters was made in 1912 by Julius Meier-Graefe. Among them are the following, The seamstress Aline Charigot, who is holding a affenpinscher dog, Renoir married her in 1890, and they had three sons. Charles Ephrussi—wealthy amateur art historian, collector, and editor of the Gazette des Beaux-Arts—appears wearing a top hat in the background. The younger man to whom Ephrussi appears to be speaking, more casually attired in a coat and cap, may be Jules Laforgue, his personal secretary and also a poet. Actress Ellen Andrée drinks from a glass in the center of the composition, seated across from her is Baron Raoul Barbier, former mayor of colonial Saigon. Alphonsine is the woman leaning on the railing, Alphonse. Also wearing boaters are figures appearing to be Renoirs close friends Eugène Pierre Lestringez, a bureaucrat, Renoir depicts them flirting with the actress Jeanne Samary in the upper righthand corner of the painting. An art patron, painter, and important figure in the impressionist circle, Caillebotte was also an avid boatman, at the Seventh Impressionist Exhibition in 1882, the painting generally received praise from critics. It is fresh and free without being too bawdy, wrote Paul de Charry in Le Pays and it is one of the most beautiful pieces that this insurrectionist art by Independent artists has produced. Alternatively, Le Figaro published Albert Wolffs comment on March 2,1882, If he had learned to draw, the painting was featured prominently in Jean-Pierre Jeunets film Le Fabuleux destin dAmélie Poulain — released in English as Amélie. A homage to this appears in the final panel of On the False Earths
Luncheon of the Boating Party
–
Le déjeuner des canotiers
Luncheon of the Boating Party
–
Detail of
Ellen Andrée drinking from a glass in the center of the composition
7.
Impressionism
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Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. The Impressionists faced harsh opposition from the art community in France. The development of Impressionism in the arts was soon followed by analogous styles in other media that became known as impressionist music. Radicals in their time, early Impressionists violated the rules of academic painting and they constructed their pictures from freely brushed colours that took precedence over lines and contours, following the example of painters such as Eugène Delacroix and J. M. W. Turner. They also painted scenes of modern life, and often painted outdoors. Previously, still lifes and portraits as well as landscapes were painted in a studio. The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air, the Impressionists, however, developed new techniques specific to the style. The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if the art critics and art establishment disapproved of the new style. In the middle of the 19th century—a time of change, as Emperor Napoleon III rebuilt Paris, the Académie was the preserver of traditional French painting standards of content and style. Historical subjects, religious themes, and portraits were valued, landscape, the Académie preferred carefully finished images that looked realistic when examined closely. Paintings in this style were made up of brush strokes carefully blended to hide the artists hand in the work. Colour was restrained and often toned down further by the application of a golden varnish, the Académie had an annual, juried art show, the Salon de Paris, and artists whose work was displayed in the show won prizes, garnered commissions, and enhanced their prestige. The standards of the juries represented the values of the Académie, represented by the works of artists as Jean-Léon Gérôme. In the early 1860s, four young painters—Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and they discovered that they shared an interest in painting landscape and contemporary life rather than historical or mythological scenes. A favourite meeting place for the artists was the Café Guerbois on Avenue de Clichy in Paris, where the discussions were led by Édouard Manet. They were soon joined by Camille Pissarro, Paul Cézanne, during the 1860s, the Salon jury routinely rejected about half of the works submitted by Monet and his friends in favour of works by artists faithful to the approved style. In 1863, the Salon jury rejected Manets The Luncheon on the Grass primarily because it depicted a woman with two clothed men at a picnic. While the Salon jury routinely accepted nudes in historical and allegorical paintings, the jurys severely worded rejection of Manets painting appalled his admirers, and the unusually large number of rejected works that year perturbed many French artists
Impressionism
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Claude Monet,
Haystacks, (sunset), 1890–1891,
Museum of Fine Arts, Boston
Impressionism
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Pierre-Auguste Renoir, Dance at Le Moulin de la Galette (
Bal du moulin de la Galette),
Musée d'Orsay, 1876
Impressionism
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Édouard Manet,
The Luncheon on the Grass (Le déjeuner sur l'herbe), 1863
Impressionism
–
Alfred Sisley, View of the Saint-Martin Canal, Paris, 1870,
Musée d'Orsay
8.
Femininity
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Femininity is a set of attributes, behaviors, and roles generally associated with girls and women. Femininity is socially constructed, but made up of both socially-defined and biologically-created factors and this makes it distinct from the definition of the biological female sex, as both males and females can exhibit feminine traits. People who exhibit a combination of masculine and feminine characteristics are considered androgynous, and feminist philosophers have argued that gender ambiguity may blur gender classification. In some non-English speaking cultures, certain concepts or inanimate objects are considered feminine or masculine, tara Williams has suggested that modern notions of femininity in English speaking society began during the English medieval period at the time of the bubonic plague in the 1300s. Women in the Early Middle Ages were referred to simply within their traditional roles of maiden, wife, after the Black Death in England wiped out approximately half the population, traditional gender roles of wife and mother changed, and opportunities opened up for women in society. Prudence Allen has traced how the concept of woman changed during this period, the words femininity and womanhood are first recorded in Chaucer around 1380. Girls, second-wave feminists said, were then socialized with toys, games, television and school into conforming to feminine values, femininity is sometimes linked with sexual objectification and sexual appeal. Sexual passiveness, or sexual receptivity, is considered feminine while sexual assertiveness. Some queer theorists and other postmodernists, however, have rejected the sex /gender dichotomy as a dangerous simplification, an ongoing debate with regards to sex and psychology concerns the extent to which gender identity and gender-specific behavior is due to socialization versus inborn factors. According to Diane F. Halpern, both play a role, but the relative importance of each must still be investigated. The nature versus nurture question, for example, is debated and is continually revitalized by new research findings. Some hold that feminine identity is partly a given and partly a goal to be sought, in 1959, researchers such as John Money and Anke Erhardt proposed the prenatal hormone theory. This theory, however, has been criticized on theoretical and empirical grounds, Money also argued that gender identity is formed during a childs first three years. In Carl Jungs school of psychology, the anima and animus are the two primary anthropomorphic archetypes of the unconscious mind. The anima and animus are described by Jung as elements of his theory of the collective unconscious, a domain of the unconscious that transcends the personal psyche. In the unconscious of the male, it finds expression as a feminine inner personality, anima, equivalently, in the unconscious of the female, it is expressed as a masculine inner personality, animus. In Western cultures, the ideal of feminine appearance has traditionally included long, flowing hair, clear skin, a narrow waist, in other cultures, however, expectations are different. For example, in parts of the world, underarm hair is not considered unfeminine
Femininity
–
In Egyptian mythology,
Isis is synonymous with femininity.
Femininity
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The Birth of Venus (1486,
Uffizi) is a classic representation of femininity painted by
Sandro Botticelli.
Venus was a
Roman goddess principally associated with love, beauty and
fertility.
Femininity
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Young Woman Drawing (1801,
Metropolitan Museum of Art) painted by
Marie-Denise Villers (possibly a self-portrait), depicts an independent feminine spirit.
Femininity
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In some cultures, cosmetics are associated with femininity
9.
Sensuality
–
A sense is a physiological capacity of organisms that provides data for perception. The senses and their operation, classification, and theory are overlapping topics studied by a variety of fields, most notably neuroscience, cognitive psychology, the nervous system has a specific sensory system or organ, dedicated to each sense. Humans have a multitude of senses, sight, hearing, taste, smell, and touch are the five traditionally recognized senses. However, what constitutes a sense is a matter of debate, leading to difficulties in defining what exactly a distinct sense is. Other animals also have receptors to sense the world around them, humans have a comparatively weak sense of smell and a stronger sense of sight relative to many other mammals while some animals may lack one or more of the traditional five senses. Some animals may also intake and interpret sensory stimuli in different ways. Some species of animals are able to sense the world in a way humans cannot, with some species able to sense electrical and magnetic fields. There is no agreement as to the number of senses because of differing definitions of what constitutes a sense. The senses are frequently divided into exteroceptive and interoceptive, Exteroceptive senses are senses that perceive the bodys own position, motion, external senses include the traditional five, sight, hearing, touch, smell and taste, as well as thermoception and possibly an additional weak magnetoception. Proprioceptive senses include nociception, equilibrioception, proprioception, interoceptive senses are senses that perceive sensations in internal organs. Non-human animals may possess senses that are absent in humans, such as electroreception and detection of polarized light, in Buddhist philosophy, Ayatana or sense-base includes the mind as a sense organ, in addition to the traditional five. This addition to the commonly acknowledged senses may arise from the psychological orientation involved in Buddhist thought, the mind considered by itself is seen as the principal gateway to a different spectrum of phenomena that differ from the physical sense data. This way of viewing the human sense system indicates the importance of internal sources of sensation and perception that complements our experience of the external world, there are two types of photoreceptors, rods and cones. Rods are very sensitive to light, but do not distinguish colors, cones distinguish colors, but are less sensitive to dim light. There is some disagreement as to whether this one, two or three senses. Neuroanatomists generally regard it as two senses, given that different receptors are responsible for the perception of color and brightness, the inability to see is called blindness. Blindness may result from damage to the eyeball, especially to the retina, damage to the nerve that connects each eye to the brain. Temporary or permanent blindness can be caused by poisons or medications, people with blindsight are usually not aware that they are reacting to visual sources, and instead just unconsciously adapt their behaviour to the stimulus
Sensuality
–
Five senses and the respective sensory organs
Sensuality
–
An
allegory of five senses. Still Life by
Pieter Claesz, 1623. The painting illustrates the senses through musical instruments, a compass, a book, food and drink, a mirror,
incense and an open perfume bottle. The
tortoise may be an illustration of touch or an allusion to the opposite,(the tortoise isolating in its shell)
Sensuality
–
Detail of The Senses of Hearing, Touch and Taste,
Jan Brueghel the Elder, 1618
Sensuality
–
In this painting by
Pietro Paolini, each individual represents one of the five senses.
10.
Peter Paul Rubens
–
Sir Peter Paul Rubens was a Flemish/Netherlandish draughtsman and painter. He is widely considered as the most notable artist of Flemish Baroque art school, the catalogue of his works by Michael Jaffé lists 1,403 pieces, excluding numerous copies made in his workshop. His commissioned works were mostly history paintings, which included religious and mythological subjects and he painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house and he also oversaw the ephemeral decorations of the royal entry into Antwerp by the Cardinal-Infante Ferdinand in 1635. His drawings are mostly extremely forceful but not overly detailed and he also made great use of oil sketches as preparatory studies. For altarpieces he painted on slate to reduce reflection problems. Rubens was born in the city of Siegen to Jan Rubens and he was named in honour of Saint-Peter and Paul, because he was born on their solemnety. His father, a Calvinist, and mother fled Antwerp for Cologne in 1568, after increased religious turmoil and persecution of Protestants during the rule of the Spanish Netherlands by the Duke of Alba. Jan Rubens became the adviser of Anna of Saxony, the second wife of William I of Orange. Following Jan Rubens imprisonment for the affair, Peter Paul Rubens was born in 1577, the family returned to Cologne the next year. In 1589, two years after his fathers death, Rubens moved with his mother Maria Pypelincks to Antwerp, religion figured prominently in much of his work and Rubens later became one of the leading voices of the Catholic Counter-Reformation style of painting. In Antwerp, Rubens received a Renaissance humanist education, studying Latin, by fourteen he began his artistic apprenticeship with Tobias Verhaeght. Subsequently, he studied under two of the leading painters of the time, the late Mannerist artists Adam van Noort. Much of his earliest training involved copying earlier works, such as woodcuts by Hans Holbein the Younger. Rubens completed his education in 1598, at time he entered the Guild of St. Luke as an independent master. In 1600 Rubens travelled to Italy and he stopped first in Venice, where he saw paintings by Titian, Veronese, and Tintoretto, before settling in Mantua at the court of Duke Vincenzo I Gonzaga. The colouring and compositions of Veronese and Tintoretto had an effect on Rubenss painting. With financial support from the Duke, Rubens travelled to Rome by way of Florence in 1601, there, he studied classical Greek and Roman art and copied works of the Italian masters
Peter Paul Rubens
–
Self-portrait, 1623,
Royal Collection
Peter Paul Rubens
–
Rubens and
Isabella Brant, the
Honeysuckle Bower, c. 1609.
Alte Pinakothek
Peter Paul Rubens
–
The garden Rubens planned at
Rubenshuis, in
Antwerpen
Peter Paul Rubens
–
Portrait of a Young Scholar, from 1597
11.
Antoine Watteau
–
Jean-Antoine Watteau, better known as Antoine Watteau, was a French painter whose brief career spurred the revival of interest in colour and movement, as seen in the tradition of Correggio and Rubens. He revitalized the waning Baroque style, shifting it to the severe, more naturalistic. Watteau is credited with inventing the genre of fêtes galantes, scenes of bucolic and idyllic charm, some of his best known subjects were drawn from the world of Italian comedy and ballet. Watteau was born in October 1684 in the town of Valenciennes which had passed from the Spanish Netherlands to France. His father, Jean-Philippe Watteau, was a given to brawling. Showing an early interest in painting, Jean-Antoine may have been apprenticed to Jacques-Albert Gérin, jean-Antoines first artistic subjects were charlatans selling quack remedies on the streets of Valenciennes. Watteau left for Paris in 1702, by 1705 he was employed as an assistant by the painter Claude Gillot, whose work represented a reaction against the turgid official art of Louis XIVs reign. In Gillots studio Watteau became acquainted with the characters of the commedia dellarte, afterward he moved to the workshop of Claude Audran III, an interior decorator, under whose influence he began to make drawings admired for their consummate elegance. Audran was the curator of the Palais du Luxembourg, where Watteau was able to see the magnificent series of canvases painted by Peter Paul Rubens for Queen Marie de Medici. The Flemish painter would become one of his influences, together with the Venetian masters he would later study in the collection of his patron and friend. In 1709 Watteau tried to obtain the Prix de Rome and was rejected by the Academy. In 1712 he tried again and was considered so good that, rather than receiving the one-year stay in Rome for which he had applied, he was accepted as a full member of the Academy. He took five years to deliver the required reception piece, but it was one of his masterpieces, Watteau lacked aristocratic patrons, his buyers were bourgeois such as bankers and dealers. The subject of his painting, Pierrot, is an actor in a white satin costume who stands isolated from his four companions. Watteaus final masterpiece, the Shop-sign of Gersaint, exits the pastoral forest locale for an urban set of encounters. Painted at Watteaus own insistence, in eight days, working only in the mornings, in order to warm up his fingers, this sign for the shop in Paris of the paintings dealer Edme François Gersaint is effectively the final curtain of Watteaus theatre. It has been compared with Las Meninas as a meditation on art, the scene is an art gallery where the façade has magically vanished, and the gallery and street in the canvas are fused into one contiguous drama. Watteau alarmed his friends by a carelessness about his future and financial security, in fact he had been sickly and physically fragile since childhood
Antoine Watteau
–
Watteau in the last year of his life, by
Rosalba Carriera, 1721.
Antoine Watteau
–
Pleasures of Love (1718 - 1719)
Antoine Watteau
–
The Feast (or Festival) of Love (1718 - 1719)
Antoine Watteau
–
The Embarkation for Cythera, 1717,
Louvre. Many commentators note that it depicts a departure from the island of
Cythera, the birthplace of
Venus, thus symbolizing the brevity of love.
12.
Pierre Renoir
–
Pierre Renoir was a French stage and film actor. He was the son of the impressionist painter Pierre-Auguste Renoir and elder brother of the film director Jean Renoir and he is also noted for being the first actor to play Georges Simenons character Inspector Jules Maigret. Pierre Renoir was born on 21 March 1885 in Paris, on 18 rue Houdon, about a hundred meters from place Pigalle, Renoir was briefly the director of the Théâtre de lAthénée in Paris, taking over after the death of Louis Jouvet in 1951. Pierre Renoirs son was the cinematographer Claude Renoir, who is not to be confused with another brother, also called Claude Renoir, vals Mystery Les Enfants du paradis Special Mission The Captain Dr. Knock Judgement of God Pierre Renoir at the Internet Movie Database
Pierre Renoir
–
Pierre Renoir in US trailer for "Children Of Paradise" (1945)
13.
Jean Renoir
–
Jean Renoir was a French film director, screenwriter, actor, producer and author. As a film director and actor, he more than forty films from the silent era to the end of the 1960s. His films La Grande Illusion and The Rules of the Game are often cited by critics as among the greatest films ever made and he was ranked by the BFIs Sight & Sound poll of critics in 2002 as the fourth greatest director of all time. Among numerous honors accrued during his lifetime, he received a Lifetime Achievement Academy Award in 1975 for his contribution to the picture industry. Renoir was the son of the painter Pierre-Auguste Renoir, Renoir was born in the Montmartre district of Paris, France. He was the son of Aline Renoir and Pierre-Auguste Renoir. His elder brother was Pierre Renoir, a French stage and film actor, Renoir was also the uncle of Claude Renoir, the son of Pierre, a cinematographer who worked with Jean Renoir on several of his films. Renoir was largely raised by Gabrielle Renard, his nanny and his mothers cousin, shortly before his birth, she had come to live with the Renoir family. She introduced the boy to the Guignol puppet shows in Montmartre. He wrote in his 1974 memoirs My Life and My Films, She taught me to see the face behind the mask and she taught me to detest the cliché. Gabrielle was also fascinated by the new invention, and when Renoir was only a few years old she took him to see his first film. As a child, Renoir moved to the south of France with his family and he and the rest of the Renoir family were the subjects of many of his fathers paintings. His fathers financial success ensured that the young Renoir was educated at boarding schools, from which, as he later wrote. At the outbreak of World War I, Renoir was serving in the French cavalry, later, after receiving a bullet in his leg, he served as a reconnaissance pilot. After the war, Renoir followed his fathers suggestion and tried his hand at making ceramics and he was particularly inspired by Erich von Stroheims work. In 1924, Renoir directed Une Vie Sans Joie or Catherine and she was also his fathers last model. At this stage, his films did not produce a return, Renoir gradually sold paintings inherited from his father to finance them. During the 1930s Renoir enjoyed great success as a filmmaker, in 1931 he directed his first sound films, On purge bébé and La Chienne
Jean Renoir
–
Jean Renoir
Jean Renoir
–
The young Renoir with
Gabrielle Renard in a painting by his father
Pierre-Auguste Renoir.
14.
Courtauld Institute Galleries
–
The Courtauld Institute of Art, commonly referred to as The Courtauld, is a self-governing college of the University of London specialising in the study of the history of art and conservation. It is among the most prestigious institutions in the world for these disciplines and is known for the disproportionate number of directors of major museums drawn from its small body of alumni. The art collection of the Institute is known particularly for its French Impressionist and Post-Impressionist paintings and is housed in the Courtauld Gallery, the Institute and the Gallery are both in Somerset House, in the Strand in London. Originally the Courtauld Institute was based in Home House, a Robert Adam-designed townhouse in Londons Portman Square, the Strand block of Somerset House, designed by William Chambers from 1775–1780, has housed the Courtauld Institute since 1989. The Courtauld celebrated its 75th anniversary during the 2007–08 academic year, the Courtauld Institute of Art is the major centre for the study of the history and conservation of art and architecture in the United Kingdom. It offers undergraduate and postgraduate teaching to around 400 students each year, degrees are awarded by the University of London. The Independent has called it probably the most prestigious specialist college for the study of the history of art in the world, the Courtauld was ranked, again, first in the United Kingdom for History and History of Art in The Guardian’s 2017 University Guide. The only undergraduate course offered by the Courtauld is a BA in the History of Art and this is a full-time course designed to introduce students to all aspects of the study of western art. Students in the history of art masters programme have to choose a specialisation ranging from antiquity to modern to global contemporary artwork. Special options are taught in class sizes of 5–10 students. In 2009, it was decided that the Witt Library would not continue to add new material to the collection, the book library is one of the UKs largest archives of art history books, periodicals and exhibition catalogues. There is a library which also covers films, and an IT suite. Two other websites and sell high resolution digital files to scholars, publishers and broadcasters, the Courtauld uses a virtual learning environment to deliver course material to its students. Since 2004, the Courtauld has published a research journal, immediations. Each cover of the journal has been commissioned by a contemporary artist. The art collection of the Institute is housed in the Courtauld Gallery, the collection was begun by the founder of the Institute, Samuel Courtauld, who presented an extensive collection of mainly French Impressionist and Post-Impressionist paintings in 1932. It was enhanced by further gifts in the 1930s and a bequest in 1948, the Gallery contains some 530 paintings and over 26,000 drawings and prints. The Courtauld Gallery is open to the public, since 1989 it has been housed in the Strand block of Somerset House, which was the first home of the Royal Academy, founded in 1768
Courtauld Institute Galleries
–
This article needs additional citations for
verification. Please help improve this article by
adding citations to reliable sources. Unsourced material may be challenged and removed. (August 2015)
Courtauld Institute Galleries
–
Courtauld Institute of Art
Courtauld Institute Galleries
–
A Bar at the Folies-Bergère (1882) by
Édouard Manet
Courtauld Institute Galleries
–
Colleges and
institutions
15.
Paris
–
Paris is the capital and most populous city of France. It has an area of 105 square kilometres and a population of 2,229,621 in 2013 within its administrative limits, the agglomeration has grown well beyond the citys administrative limits. By the 17th century, Paris was one of Europes major centres of finance, commerce, fashion, science, and the arts, and it retains that position still today. The aire urbaine de Paris, a measure of area, spans most of the Île-de-France region and has a population of 12,405,426. It is therefore the second largest metropolitan area in the European Union after London, the Metropole of Grand Paris was created in 2016, combining the commune and its nearest suburbs into a single area for economic and environmental co-operation. Grand Paris covers 814 square kilometres and has a population of 7 million persons, the Paris Region had a GDP of €624 billion in 2012, accounting for 30.0 percent of the GDP of France and ranking it as one of the wealthiest regions in Europe. The city is also a rail, highway, and air-transport hub served by two international airports, Paris-Charles de Gaulle and Paris-Orly. Opened in 1900, the subway system, the Paris Métro. It is the second busiest metro system in Europe after Moscow Metro, notably, Paris Gare du Nord is the busiest railway station in the world outside of Japan, with 262 millions passengers in 2015. In 2015, Paris received 22.2 million visitors, making it one of the top tourist destinations. The association football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris, the 80, 000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros, Paris hosted the 1900 and 1924 Summer Olympics and is bidding to host the 2024 Summer Olympics. The name Paris is derived from its inhabitants, the Celtic Parisii tribe. Thus, though written the same, the name is not related to the Paris of Greek mythology. In the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps, since the late 19th century, Paris has also been known as Panam in French slang. Inhabitants are known in English as Parisians and in French as Parisiens and they are also pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the areas major north-south trade routes crossed the Seine on the île de la Cité, this place of land and water trade routes gradually became a town
Paris
–
In the 1860s Paris streets and monuments were illuminated by 56,000 gas lamps, making it literally "The City of Light."
Paris
Paris
–
Gold coins minted by the Parisii (1st century BC)
Paris
–
The
Palais de la Cité and
Sainte-Chapelle, viewed from the Left Bank, from the
Très Riches Heures du duc de Berry (month of June) (1410)
16.
Charles Gounod
–
Charles-François Gounod was a French composer, best known for his Ave Maria, based on a work by Bach, as well as his opera Faust. Another opera by Gounod occasionally still performed is Roméo et Juliette, although he is known for his Grand Operas, the soprano aria Que ferons-nous avec le ragoût de citrouille. From his first opera Livre de recettes dun enfant is still performed in concert as an encore, Gounod died at Saint-Cloud in 1893, after a final revision of his twelve operas. His funeral took place ten days later at the Church of the Madeleine, with Camille Saint-Saëns playing the organ and Gabriel Fauré conducting. Ironically because of its obscurity today, an arrangement of Que ferons-nous avec le ragoût de citrouille. was performed by Saint-Saens at the funeral, due to its simple and it was later published as a posthumous Op.60. He was buried at the Cimetière dAuteuil in Paris, Gounod was born in Paris, the son of a pianist mother and an artist father. His mother was his first piano teacher, Gounod first showed his musical talents under her tutelage. He then entered the Paris Conservatoire, where he studied under Fromental Halévy, in 1839 he won the Prix de Rome for his cantata Fernand. In so doing he was following his father, François-Louis Gounod had won the second Prix de Rome in painting in 1783. During his stay of four years in Italy, Gounod studied the music of Palestrina and other sacred works of the sixteenth century, around 1846-47 he gave serious consideration to joining the priesthood, but he changed his mind before actually taking holy orders, and went back to composition. During that period he was attached to the Church of Foreign Missions in Paris, in 1854 Gounod completed a Messe Solennelle, also known as the St. Cecilia Mass. This work was first performed in its entirety in the church of St. Eustache in Paris on Saint Cecilias Day,22 November 1855, during 1855 Gounod wrote two symphonies. His Symphony No.1 in D major was the inspiration for the Symphony in C composed later that year by Georges Bizet, fanny Mendelssohn, sister of Felix Mendelssohn, introduced the keyboard music of Johann Sebastian Bach to Gounod, who came to revere him. For him The Well-Tempered Clavier was the law to pianoforte study. the unquestioned textbook of musical composition and it inspired Gounod to devise a melody and superimpose it on the C major Prelude from the collections first book. To this melody in 1859, Gounod fitted the words of the Ave Maria, Gounod wrote his first opera, Sapho, in 1851 at the urging of his friend, the singer Pauline Viardot, it was a commercial failure. He had no theatrical success until Faust, derived from Goethe. The romantic and melodious Roméo et Juliette, premiered in 1867, is revived now, mireille, first performed in 1864, has been admired by connoisseurs rather than by the general public. The other Gounod operas have fallen into oblivion, from 1870 to 1874 Gounod lived in England, at 17 Morden Road, Blackheath
Charles Gounod
–
Charles Gounod
Charles Gounod
–
Charles Gounod in 1859, the year of the premiere of Faust.
Charles Gounod
–
Gounod late in his career.
Charles Gounod
–
Gounod's guitar.
17.
Porcelain
–
Porcelain /ˈpɔːrsəlᵻn, ˈpɔːrslᵻn/ is a ceramic material made by heating materials, generally including kaolin, in a kiln to temperatures between 1,200 and 1,400 °C. Porcelain was first developed in China around 2,000 years ago, then spread to other East Asian countries, and finally Europe. It combines well with both glazes and paint, and can be modelled very well, allowing a range of decorative treatments in tablewares, vessels. It also has uses in technology and industry. The European name, porcelain in English, come from the old Italian porcellana because of its resemblance to the translucent surface of the shell, Porcelain is also referred to as china or fine china in some English-speaking countries, as it was first seen in imports from China. Porcelain has been described as being completely vitrified, hard, impermeable, white or artificially coloured, translucent, however, the term porcelain lacks a universal definition and has been applied in a very unsystematic fashion to substances of diverse kinds which have only certain surface-qualities in common. Terms such as porcellaneous or near-porcelain may be used in such cases, a high proportion of modern porcelain is made of the variant bone china. Kaolin is the material from which porcelain is made, even though clay minerals might account for only a small proportion of the whole. The word paste is an old term for both the unfired and fired material, a more common terminology these days for the unfired material is body, for example, when buying materials a potter might order an amount of porcelain body from a vendor. The composition of porcelain is highly variable, but the mineral kaolinite is often a raw material. Other raw materials can include feldspar, ball clay, glass, bone ash, steatite, quartz, petuntse, the clays used are often described as being long or short, depending on their plasticity. Long clays are cohesive and have high plasticity, short clays are cohesive and have lower plasticity. Clays used for porcelain are generally of lower plasticity and are shorter than many other pottery clays and they wet very quickly, meaning that small changes in the content of water can produce large changes in workability. Thus, the range of content within which these clays can be worked is very narrow. The following section provides information on the methods used to form, decorate, finish, glaze. Many types of glaze, such as the iron-containing glaze used on the wares of Longquan, were designed specifically for their striking effects on porcelain. Porcelain wares may be decorated under the glaze using pigments that include cobalt and copper or over the glaze using coloured enamels. Like many earlier wares, modern porcelains are often biscuit-fired at around 1,000 °C, coated with glaze, another early method is once-fired where the glaze is applied to the unfired body and the two fired together in a single operation
Porcelain
–
Porcelain wares, such as those similar to these Yongle-era porcelain flasks, were often presented as trade goods during the 15th-century
Chinese maritime expeditions. (British Museum)
Porcelain
–
Soft-paste porcelain Swan
tureen, 1752-6,
Chelsea.
Porcelain
–
Flower centrepiece, 18th century, Spain.
Porcelain
–
Ming Dynasty Xuande Archaic Porcelain Vase
18.
Louvre
–
The Louvre or the Louvre Museum is the worlds largest museum and a historic monument in Paris, France. A central landmark of the city, it is located on the Right Bank of the Seine in the citys 1st arrondissement, approximately 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square metres. The Louvre is the second most visited museum after the Palace Museum in China. The museum is housed in the Louvre Palace, originally built as a fortress in the late 12th century under Philip II, remnants of the fortress are visible in the basement of the museum. Due to the expansion of the city, the fortress eventually lost its defensive function and. The building was extended many times to form the present Louvre Palace, in 1692, the building was occupied by the Académie des Inscriptions et Belles Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years, during the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nations masterpieces. The museum opened on 10 August 1793 with an exhibition of 537 paintings, because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under Napoleon and the museum renamed Musée Napoléon, the collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic, whether this was the first building on that spot is not known, it is possible that Philip modified an existing tower. According to the authoritative Grand Larousse encyclopédique, the name derives from an association with wolf hunting den, in the 7th century, St. Fare, an abbess in Meaux, left part of her Villa called Luvra situated in the region of Paris to a monastery. This territory probably did not correspond exactly to the modern site, the Louvre Palace was altered frequently throughout the Middle Ages. In the 14th century, Charles V converted the building into a residence and in 1546, Francis acquired what would become the nucleus of the Louvres holdings, his acquisitions including Leonardo da Vincis Mona Lisa. After Louis XIV chose Versailles as his residence in 1682, constructions slowed, however, on 14 October 1750, Louis XV agreed and sanctioned a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. Under Louis XVI, the museum idea became policy. The comte dAngiviller broadened the collection and in 1776 proposed conversion of the Grande Galerie of the Louvre – which contained maps – into the French Museum, many proposals were offered for the Louvres renovation into a museum, however, none was agreed on. Hence the museum remained incomplete until the French Revolution, during the French Revolution the Louvre was transformed into a public museum. In May 1791, the Assembly declared that the Louvre would be a place for bringing together monuments of all the sciences, on 10 August 1792, Louis XVI was imprisoned and the royal collection in the Louvre became national property
Louvre
–
the Richelieu wing (2005)
Louvre
–
The only portion of the medieval Louvre still visible
Louvre
–
Antonio Canova 's
Psyche Revived by Cupid's Kiss was commissioned in 1787, donated in 1824.
Louvre
–
The
Venus de Milo was added to the Louvre's collection during the reign of
Louis XVIII.
19.
Charles Gleyre
–
Marc Gabriel Charles Gleyre, was a Swiss artist, resident in France from an early age. Gleyre was born in Chevilly, near Lausanne and his parents died when he was eight or nine years old, and he was brought up by an uncle in Lyon, France, who sent him to the citys industrial school. He began his artistic education in Lyon under Bonnefond, before moving to Paris. He also attended the Academie Suisse and studied watercolour technique in the studio of Richard Parkes Bonington and he then went to Italy, where he became acquainted with Horace Vernet and Louis Léopold Robert. They left Italy in spring 1834 and visited Greece, Turkey and Egypt, where they remained together until November 1835, Gleyre continued his travels around Egypt and Syria, not returning to France until 1838. He returned to Lyons in shattered health, having been attacked with ophthalmia, or inflammation of the eye, in Cairo, after 1845, when he exhibited the Separation of the Apostles, he contributed nothing to the Salon except the Dance of the Bacchantes in 1849. Yet he worked steadily and was productive and he had an infinite capacity of taking pains, and when asked by what method he attained to such marvelous perfection of workmanship, he would reply, En y pensant toujours. Many years often intervened between the first conception of a piece and its embodiment, and years not infrequently between the first and the stage of the embodiment itself. A landscape was finished, even his fellow artists would consider it done. Gleyre became influential as a teacher, taking over the studio of studio of Paul Delaroche – then the leading private teaching atelier in Paris – in 1843. His students included Jean-Léon Gérôme, Jean-Louis Hamon, Auguste Toulmouche, Whistler and several of the Impressionists, Monet, Renoir, Sisley and he did not charge his students a fee, although he expected them to contribute towards the rent and the payment of models. They were also given a say in the running of the school, though he lived in almost complete retirement from public life, he took a keen interest in politics, and was a voracious reader of political journals. For a time, under Louis Philippe, his studio had been the rendezvous of a sort of liberal club, to the last — amid all the disasters that befell his country — he was hopeful of the future, la raison finira bien par avoir raison. It was while on a visit to the Retrospective Exhibition, opened on behalf of the exiles from Alsace and Lorraine, that he died suddenly on 5 May 1874. He also left a number of drawings and watercolours. In Clements catalogue of his works there are 683 entries, including sketches and studies and this article incorporates text from a publication now in the public domain, Chisholm, Hugh, ed. Gleyre, Marc Charles Gabriel. Fritz Berthoud in Bibliothèque universelle de Geneve, Albert de Montet, Dict
Charles Gleyre
–
Self-portrait
Charles Gleyre
–
Egyptian Temple, 1840
Charles Gleyre
–
Romans Under the Yoke (1858)
Charles Gleyre
–
This painting,
Lost Illusions, was started by Gleyre's student, Léon Dussart, and reworked by Gleyre himself. It is a replica of his masterpiece "Le Soir".
The Walters Art Museum
20.
Alfred Sisley
–
Alfred Sisley was an Impressionist landscape painter who was born and spent most of his life in France, but retained British citizenship. He was the most consistent of the Impressionists in his dedication to painting en plein air. He deviated into figure painting only rarely and, unlike Renoir and Pissarro, among his important works are a series of paintings of the River Thames, mostly around Hampton Court, executed in 1874, and landscapes depicting places in or near Moret-sur-Loing. Over the years Sisleys power of expression and colour intensity increased, Sisley was born in Paris to affluent British parents. His father, William Sisley, was in the silk business, in 1857 at the age of 18, Sisley was sent to London to study for a career in business, but he abandoned it after four years and returned to Paris in 1861. Together they would paint landscapes en plein air rather than in the studio and this approach, innovative at the time, resulted in paintings more colourful and more broadly painted than the public was accustomed to seeing. Consequently, Sisley and his friends initially had few opportunities to exhibit or sell their work and their works were usually rejected by the jury of the most important art exhibition in France, the annual Salon. During the 1860s, though, Sisley was in a financial position than some of his fellow artists. In 1866, Sisley began a relationship with Eugénie Lesouezec, a Breton living in Paris, the couple had two children, son Pierre and daughter Jeanne. At the time, Sisley lived not far from Avenue de Clichy and the Café Guerbois, in 1868, his paintings were accepted at the Salon, but the exhibition did not bring him financial or critical success, nor did subsequent exhibitions. In 1870 the Franco-Prussian War began, and as a result Sisleys fathers business failed, for the remainder of his life he would live in poverty, as his paintings did not rise significantly in monetary value until after his death. Occasionally, however, Sisley would be backed by patrons, the first of these occurred in 1874 after the first independent Impressionist exhibition. Here, as art historian Anne Poulet has said, the landscapes with their constantly changing atmosphere were perfectly attuned to his talents. Unlike Monet, he never sought the drama of the ocean or the brilliantly colored scenery of the Côte dAzur. In 1881 Sisley made a brief voyage to Britain. In 1897 Sisley and his partner visited Britain again, and were married in Cardiff Register Office on 5 August. They stayed at Penarth, where Sisley painted at least six oils of the sea, in mid-August they moved to the Osborne Hotel at Langland Bay on the Gower Peninsula, where he produced at least eleven oil paintings in and around Langland Bay and Rotherslade Bay. They returned to France in October and this was Sisleys last voyage to his ancestral homeland
Alfred Sisley
–
Alfred Sisley: 1882
Alfred Sisley
–
Pierre-Auguste Renoir, Alfred Sisley and his wife
Alfred Sisley
–
Molesey Weir – Morning, one of the paintings executed by Sisley on his visit to Britain in 1874
Alfred Sisley
–
Rest along the Stream. Edge of the Wood, 1878,
Musée d'Orsay
21.
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
22.
Paris Salon
–
The Salon, or rarely Paris Salon, beginning in 1667 was the official art exhibition of the Académie des Beaux-Arts in Paris. Between 1748 and 1890 it was arguably the greatest annual or biennial art event in the Western world, at the 1761 Salon, thirty-three painters, nine sculptors, and eleven engravers contributed. From 1881 onward, it has been managed by the Société des Artistes Français, in 1667, the royally sanctioned French institution of art patronage, the Académie royale de peinture et de sculpture, held its first semi-public art exhibit at the Salon Carré. The Salons original focus was the display of the work of recent graduates of the École des Beaux-Arts, exhibition at the Salon de Paris was essential for any artist to achieve success in France for at least the next 200 years. Exhibition in the Salon marked a sign of royal favor, in 1725, the Salon was held in the Palace of the Louvre, when it became known as Salon or Salon de Paris. In 1737, the exhibitions, held from 18 August 1737 to 5 September 1737 at the Grand Salon of the Louvre and they were held, at first, annually, and then biennially, in odd-numbered years. They would start on the feast day of St. Louis, once made regular and public, the Salons status was never seriously in doubt. In 1748 a jury of awarded artists was introduced, from this time forward, the influence of the Salon was undisputed. The Salon exhibited paintings floor-to-ceiling and on every inch of space. The jostling of artwork became the subject of other paintings. Printed catalogues of the Salons are primary documents for art historians, critical descriptions of the exhibitions published in the gazettes mark the beginning of the modern occupation of art critic. The French revolution opened the exhibition to foreign artists, the vernissage of opening night was a grand social occasion, and a crush that gave subject matter to newspaper caricaturists like Honoré Daumier. Charles Baudelaire, Denis Diderot and others wrote reviews of the Salons, the 1848 revolution liberalized the Salon. The amount of refused works was greatly reduced, the increasingly conservative and academic juries were not receptive to the Impressionist painters, whose works were usually rejected, or poorly placed if accepted. The Salon opposed the Impressionists shift away from traditional painting styles, in 1863 the Salon jury turned away an unusually high number of the submitted paintings. An uproar resulted, particularly from regular exhibitors who had been rejected, in order to prove that the Salons were democratic, Napoleon III instituted the Salon des Refusés, containing a selection of the works that the Salon had rejected that year. It opened on 17 May 1863, marking the birth of the avant-garde, the Impressionists held their own independent exhibitions in 1874,1876,1877,1879,1880,1881,1882 and 1886. In 1881, the government withdrew official sponsorship from the annual Salon, in December 1890, the leader of the Société des Artistes Français, William-Adolphe Bouguereau, propagated the idea that Salon should be an exhibition of young, not-yet awarded, artists
Paris Salon
–
Formally dressed patrons at the Salon in 1890
Paris Salon
–
This portrait by
John Singer Sargent of
Virginie Amélie Avegno Gautreau depicting her
cleavage caused considerable controversy when it was displayed at the 1884 Salon.
Paris Salon
–
Salon of 1932, Grand Palais, Paris.
Paris Salon
–
Salon of 1753
23.
Franco-Prussian War
–
The conflict was caused by Prussian ambitions to extend German unification and French fears of the shift in the European balance of power that would result if the Prussians succeeded. On 16 July 1870, the French parliament voted to declare war on the German Kingdom of Prussia, the German coalition mobilised its troops much more quickly than the French and rapidly invaded northeastern France. The German forces were superior in numbers, had training and leadership and made more effective use of modern technology, particularly railroads. The German states proclaimed their union as the German Empire under the Prussian king Wilhelm I, the Treaty of Frankfurt of 10 May 1871 gave Germany most of Alsace and some parts of Lorraine, which became the Imperial territory of Alsace-Lorraine. French determination to regain Alsace-Lorraine and fear of another Franco-German war, along with British apprehension about the balance of power, the causes of the Franco-Prussian War are deeply rooted in the events surrounding the unification of Germany. In the aftermath of the Austro-Prussian War of 1866, Prussia had annexed numerous territories and this new power destabilized the European balance of power established by the Congress of Vienna in 1815 after the Napoleonic Wars. France was strongly opposed to any further alliance of German states, in Prussia, some officials considered a war against France both inevitable and necessary to arouse German nationalism in those states that would allow the unification of a great German empire. Bismarck also knew that France should be the aggressor in the conflict to bring the southern German states to side with Prussia, many Germans also viewed the French as the traditional destabilizer of Europe, and sought to weaken France to prevent further breaches of the peace. The immediate cause of the war resided in the candidacy of Leopold of Hohenzollern-Sigmaringen, France feared encirclement by an alliance between Prussia and Spain. The Hohenzollern princes candidacy was withdrawn under French diplomatic pressure, releasing the Ems Dispatch to the public, Bismarck made it sound as if the king had treated the French envoy in a demeaning fashion, which inflamed public opinion in France. They also argue that he wanted a war to resolve growing domestic political problems, other historians, notably French historian Pierre Milza, dispute this. According to Milza, the Emperor had no need for a war to increase his popularity, the Ems telegram had exactly the effect on French public opinion that Bismarck had intended. This text produced the effect of a red flag on the Gallic bull, gramont, the French foreign minister, declared that he felt he had just received a slap. Napoleons new prime minister, Emile Ollivier, declared that France had done all that it could humanly and honorably do to prevent the war, a crowd of 15–20,000 people, carrying flags and patriotic banners, marched through the streets of Paris, demanding war. On 19 July 1870 a declaration of war was sent to the Prussian government, the southern German states immediately sided with Prussia. The French Army consisted in peacetime of approximately 400,000 soldiers, some of them were veterans of previous French campaigns in the Crimean War, Algeria, the Franco-Austrian War in Italy, and in the Mexican campaign. Under Marshal Adolphe Niel, urgent reforms were made, universal conscription and a shorter period of service gave increased numbers of reservists, who would swell the army to a planned strength of 800,000 on mobilisation. Those who for any reason were not conscripted were to be enrolled in the Garde Mobile, however, the Franco-Prussian War broke out before these reforms could be completely implemented
Franco-Prussian War
–
Clockwise from top left: Prussian infantry at the
Battle of Spicheren;
Jeanniot 's 1886 La ligne de feu (
Battle of Mars-La-Tour);
Werner 's depiction of the
capitulation of Sedan;
Neuville 's 1873 Les dernières cartouches (
Battle of Bazeilles).
Franco-Prussian War
–
A French
mitrailleuse in the
Bundeswehr Military History Museum
Franco-Prussian War
–
French reservists responding to the call.
Franco-Prussian War
–
Map of German and French armies near their common border on 31 July 1870
24.
Paris Commune
–
The Paris Commune was a radical socialist and revolutionary government that ruled Paris from 18 March to 28 May 1871. Following the defeat of Emperor Napoleon III in September 1870, the French Second Empire swiftly collapsed, in its stead rose a Third Republic at war with Prussia, which laid siege to Paris for four months. A hotbed of radicalism, Frances capital was primarily defended during this time by the often politicized. In February 1871 Adolphe Thiers, the new executive of the French national government, signed an armistice with Prussia that disarmed the Army. Soldiers of the Communes National Guard killed two French army generals, and the Commune refused to accept the authority of the French government, the regular French Army suppressed the Commune during La semaine sanglante beginning on 21 May 1871. Debates over the policies and outcome of the Commune had significant influence on the ideas of Karl Marx, on 2 September 1870, after Frances unexpected defeat at the Battle of Sedan in the Franco-Prussian War, Emperor Napoleon III surrendered to the Prussian Chancellor Otto von Bismarck. When the news reached Paris the next day, shocked and angry crowds came out into the streets, Empress Eugénie de Montijo, the Emperors regent, fled the city, and the Government of the Second Empire swiftly collapsed. Republican and radical deputies of the National Assembly went to the Hôtel de Ville, proclaimed the new French Republic, though the Emperor and the French Army had been defeated at Sedan, the war continued. The German army marched swiftly toward Paris, in Paris, however, the republican candidates dominated, winning 234,000 votes against 77,000 for the Bonapartists. Only about 40,000 were employed in factories and large enterprises, most were employed in industries in textiles, furniture. There were also 115,000 servants and 45,000 concierges, in addition to the native French population, there were about 100,000 immigrant workers and political refugees, the largest number being from Italy and Poland. The working class and immigrants suffered the most from the lack of activity due to the war. The Commune resulted in part from growing discontent among the Paris workers and this discontent can be traced to the first worker uprisings, the Canut Revolts, in Lyon and Paris in the 1830s. Many Parisians, especially workers and the classes, supported a democratic republic. They also wanted a more just way of managing the economy, if not necessarily socialist, socialist movements, such as the First International, had been growing in influence with hundreds of societies affiliated to it across France. In early 1867, Parisian employers of bronze-workers attempted to de-unionize their workers and this was defeated by a strike organized by the International. Later in 1867, a public demonstration in Paris was answered by the legal dissolution of its executive committee. The International had considerable influence even among unaffiliated French workers, particularly in Paris, the killing of journalist Victor Noir incensed Parisians, and the arrests of journalists critical of the Emperor did nothing to quiet the city
Paris Commune
–
A barricade on Rue Voltaire, after its capture by the regular army during the Bloody Week
Paris Commune
–
Louis Auguste Blanqui, leader of the Commune's far-left faction, was imprisoned for the entire time of the Commune.
Paris Commune
–
Eugène Varlin led several thousand National Guard soldiers to march to the Hotel de Ville chanting 'Long Live the Commune!".
Paris Commune
–
Revolutionary units of the National Guard briefly seized the Hotel de Ville on 31 October 1870, but the uprising failed.
25.
Seine
–
The Seine is a 777-kilometre-long river and an important commercial waterway within the Paris Basin in the north of France. It rises at Source-Seine,30 kilometres northwest of Dijon in northeastern France in the Langres plateau, flowing through Paris and it is navigable by ocean-going vessels as far as Rouen,120 kilometres from the sea. There are 37 bridges within Paris and dozens more spanning the river outside the city, examples in Paris include the Pont Alexandre III and Pont Neuf, the latter of which dates back to 1607. Outside the city, examples include the Pont de Normandie, one of the longest cable-stayed bridges in the world, the Seine rises in the commune of Source-Seine, about 30 kilometres northwest of Dijon. The source has been owned by the city of Paris since 1864, a number of closely associated small ditches or depressions provide the source waters, with an artificial grotto laid out to highlight and contain a deemed main source. The grotto includes a statue of a nymph, on the same site are the buried remains of a Gallo-Roman temple. Small statues of the dea Sequana Seine goddess and other ex voti found at the place are now exhibited in the Dijon archeological museum. The Seine is dredged and oceangoing vessels can dock at Rouen,120 kilometres from the sea, commercial riverboats can use the river from Bar-sur-Seine,560 kilometres to its mouth. At Paris, there are 37 bridges, the river is only 24 metres above sea level 446 kilometres from its mouth, making it slow flowing and thus easily navigable. The Seine Maritime,105.7 kilometres from the English Channel at Le Havre to Rouen, is the portion of the Seine used by ocean-going craft. The tidal section of the Seine Maritime is followed by a section with four large multiple locks until the mouth of the Oise at Conflans-Sainte-Honorine. Multiple locks at Bougival / Chatou and at Suresnes lift the vessels to the level of the river in Paris, upstream from Paris seven locks ensure navigation to Saint Mammès, where the Loing mouth is situated. Through an eighth lock the river Yonne is reached at Montereau-Fault-Yonne, from the mouth of the Yonne, larger ships can continue upstream to Nogent-sur-Seine. From there on, the river is only by small craft. All navigation ends abruptly at Marcilly-sur-Seine, where the ancient Canal de la Haute-Seine used to allow vessels to continue all the way to Troyes and this canal has been abandoned for many years. The average depth of the Seine today at Paris is about 9.5 metres. Until locks were installed to raise the level in the 1800s, the river was much shallower within the city most of the time, today the depth is tightly controlled and the entire width of the river between the built-up banks on either side is normally filled with water. The average flow of the river is low, only a few cubic metres per second
Seine
–
The Seine in Paris
Seine
–
Seine source
Seine
–
The
Pont de Normandie over the Seine, between
Le Havre and
Honfleur, on the
Normandy coast
Seine
–
The Seine and Eiffel Tower
26.
Communards
–
The Communards were members and supporters of the short-lived 1871 Paris Commune formed in the wake of the Franco-Prussian War and Frances defeat. The working class of Paris were feeling ostracized after the decadence of the Second Empire, the Prussians besieged Paris in September 1870, causing suffering among Parisians. The poor ate cat or rat meat or went hungry, out of resentment from this situation grew radical and socialist political clubs and newspapers. While Paris was occupied, socialist groups tried twice to overthrow the provisional government, in January 1871, Otto von Bismarck and the French minister of foreign affairs, Jules Favre, decided that France would hold national elections. Adolphe Thiers, who had been loyal to the Second Empire, was elected head of the newly monarchist republic, during the war, the capital had moved from Paris to Bordeaux. When the war ended, the government declined to back to Paris. In the early morning of March 18, the government stationed in Versailles sent military forces into Paris to collect a reserve of cannons, the detachment was still gathering the munitions when the Parisians awoke, and soon the soldiers were surrounded. In the chaos that followed, the soldiers killed two of their own, and by the end of the day, they were mainly sided with the Parisians. Insurgents now controlled the city, and they declared a new government called the Paris Commune, Thiers refused to bargain with the Communards, despite their attempts to do so. He taught newly released French soldiers the evils of the Communards as the government prepared for a battle, starting on May 21 and continuing through May 28, soldiers chased the National Guard members who sided with the Communards through the streets. Around 18,000 Parisians were killed,25,000 were imprisoned, the violence of Bloody Week became a rallying cry for the working classes, politicians would later proudly brag about their participation with the Commune. After Bloody Week, the government asked for an inquest into the causes of the uprising, the inquest concluded that the main cause of the insurrection was a lack of belief in God, and that this problem had to be corrected immediately. It was decided that a revival was needed, and a key part of this was deporting 4,500 Communards to New Caledonia. There was a goal in this, as the government also hoped that the Communards would civilize the native Kanak people on the island. The government hoped that being exposed to the order of nature would return the Communards to the side of good, New Caledonia had become a French colony in 1853, but just ten years later it still only had 350 European colonists. After 1863, New Caledonia became the destination of convicts transported from France after French Guiana was deemed too unhealthy for people of European descent. Thereafter, convicts from France made up the largest number of arriving residents, during the busiest time of deportation, there were estimated to be about 50,000 total people on the island. There were four main sites on the island, one of which
Communards
–
Communards at the boulevard Voltaire
Communards
–
Communards at the rue de Castiglione
Communards
–
The Commune arrested by
Ignorance and
Reaction
Communards
–
Executed
National Guards
27.
Fontainebleau
–
Fontainebleau is a commune in the metropolitan area of Paris, France. It is located 55.5 kilometres south-southeast of the centre of Paris, Fontainebleau is a sub-prefecture of the Seine-et-Marne department, and it is the seat of the arrondissement of Fontainebleau. The commune has the largest land area in the Île-de-France region, Fontainebleau, together with the neighbouring commune of Avon and three other smaller communes, form an urban area of 39,713 inhabitants. This urban area is a satellite of Paris, inhabitants of Fontainebleau are called Bellifontains. Fontainebleau has been recorded in different Latinised forms, such as, Fons Bleaudi, Fons Bliaudi, Fons Blaadi in the 12th and 13th centuries and it became Fons Bellaqueus in the 17th century, which gave rise to the name of the inhabitants as Bellifontains. The name originates as a composite of two words, Fontaine– meaning spring, or fountainhead, followed by a person’s Germanic name Blizwald. This hamlet was endowed with a hunting lodge and a chapel by Louis VII in the middle of the twelfth century. A century later, Louis IX, also called Saint Louis, who held Fontainebleau in high esteem and referred to it as his wilderness, had a country house, philip the Fair was born there in 1268 and died there in 1314. In all, thirty-four sovereigns, from Louis VI, the Fat, to Napoleon III, the connection between the town of Fontainebleau and the French monarchy was reinforced with the transformation of the royal country house into a true royal palace, the Palace of Fontainebleau. On 18 October 1685, Louis XIV signed the Edict of Fontainebleau there, the result was that a large number of Protestants were forced to convert to the Catholic faith, killed, or forced into exile, mainly in the Low Countries, Prussia and in England. The 1762 Treaty of Fontainebleau, an agreement between France and Spain concerning the Louisiana territory in North America, was concluded here. Also, preliminary negotiations, held before the 1763 Treaty of Paris was signed, during the French Revolution, Fontainebleau was temporarily renamed Fontaine-la-Montagne, meaning Fountain by the Mountain. On 20 June 1812, Pope Pius VII arrived at the château of Fontainebleau, after a transfer from Savona, accompanied by his personal physician. In poor health, the Pope was the prisoner of Napoleon, from June 1812 until 23 January 1814, the Pope never left his apartments. According to contemporary sources, the occasion was very moving, the 1814 Treaty of Fontainebleau stripped Napoleon of his powers and sent him into exile on Elba. Until the 19th century, Fontainebleau was a village and a suburb of Avon, later, it developed as an independent residential city. For the 1924 Summer Olympics, the town played host to the portion of the modern pentathlon event. This event took place near a golf course, Fontainebleau also hosted the general staff of the Allied Forces in Central Europe and the land forces command, the air forces command was located nearby at Camp Guynemer
Fontainebleau
–
Palace of Fontainebleau
Fontainebleau
–
Fontainebleau palace garden fountain and Grand canal
Fontainebleau
–
Historical reenactment in Fontainebleau of the bicentenary of Napoleon's Farewell to the Old Guard, April 20th of 2014. Napoleon is going down the famous stairs of Fontainebleau castle to meet with the Old Guard.
28.
Forest of Fontainebleau
–
The forest of Fontainebleau is a mixed deciduous forest lying sixty kilometres southeast of Paris, France. It is located primarily in the arrondissement of Fontainebleau in the part of the department of Seine-et-Marne. Most of it lies in the canton of Fontainebleau, although parts of it extend into adjoining cantons. Several communes lie within the forest, notably the towns of Fontainebleau, the forest has an area of 280 km2. The most common trees in the forest are, oak, Scots pine, three thousand species of mushrooms have been discovered. The forest is home to approximately seven thousand animal species. The forest is the scene of action of the trilogy. A scene in the 1852 play The Corsican Brothers, where a duel takes place, is set in the forest of Fontainebleau, chapter 6 of the ground-breaking film serial Les Vampires takes place in Fontainebleau Forest. The map Castle Rock in the game Alliance of Valiant Arms takes place in the Fontainebleau Forest, the Santalune Forest location in Pokémon X and Y is based loosely on Fontainebleau Forest. Fontainebleau rock climbing Media related to Forest of Fontainebleau at Wikimedia Commons Fontainebleau, forêt démotions Official webpage from Office National des Forêts
Forest of Fontainebleau
–
Old topographic map of the Forest of Fontainebleau, 1895
Forest of Fontainebleau
–
A young man in the forest of
Fontainebleau,
Pierre-Auguste Renoir 1886
Forest of Fontainebleau
–
The Fontainebleau forest is famous for its large boulders.
Forest of Fontainebleau
–
View of the Gorges de Franchard in the Forest of Fontainebleau
29.
The Swing (Pierre-Auguste Renoir)
–
The Swing is an oil on canvas painting by the French artist Pierre-Auguste Renoir who was a leading exponent of the Impressionist style. The painting was executed in 1876, the painting measures 92 x 73 centimetres and is in the Musée d’Orsay. Renoir executed the painting in what are now the Musée de Montmartre gardens and he had rented a cottage in the gardens so that he be could closer to the Moulin de la Galette where he was engaged in painting Bal du moulin de la Galette. Renoirs people seem to stand on a forest floor of blossoms, the girl on the swing could be fifteen, her pink dress with a hat on head increases the charm of painting. The quivering light is rendered by the patches of colour, particularly on the clothing. This particularly annoyed the critics when the painting was shown at the Impressionist exhibition of 1877, the muyer was the model called Jeanne, a favourite of Renoirs who nevertheless could not be persuaded to model for Bal. It was her sister Estelle who modelled the girl in the pink, the two men are Renoirs brother Edmond and a painter friend Norbert Goeneutte
The Swing (Pierre-Auguste Renoir)
–
La balançoire
30.
Camille Pissarro
–
Camille Pissarro was a Danish-French Impressionist and Neo-Impressionist painter born on the island of St Thomas. His importance resides in his contributions to both Impressionism and Post-Impressionism, Pissarro studied from great forerunners, including Gustave Courbet and Jean-Baptiste-Camille Corot. He later studied and worked alongside Georges Seurat and Paul Signac when he took on the Neo-Impressionist style at the age of 54, in 1873 he helped establish a collective society of fifteen aspiring artists, becoming the pivotal figure in holding the group together and encouraging the other members. Cézanne said he was a father for me, a man to consult and a little like the good Lord, and he was also one of Gauguins masters. Renoir referred to his work as revolutionary, through his portrayals of the common man. Pissarro is the only artist to have shown his work at all eight Paris Impressionist exhibitions and he acted as a father figure not only to the Impressionists but to all four of the major Post-Impressionists, including Georges Seurat, Paul Cézanne, Vincent van Gogh and Paul Gauguin. Jacob Abraham Camille Pissarro was born on 10 July 1830 on the island of St. Thomas to Frederick and his father was of Portuguese Jewish descent and held French nationality. His mother was from a French-Jewish family from the island of St. Thomas and his father was a merchant who came to the island from France to deal with the hardware store of a deceased uncle and married his widow. The marriage caused a stir within St. Thomas small Jewish community because she was married to Fredericks uncle. In subsequent years his four children were forced to attend the primary school. Upon his death, his will specified that his estate be split equally between the synagogue and St. Thomas Protestant church, when Camille was twelve his father sent him to boarding school in France. He studied at the Savary Academy in Passy near Paris, while a young student, he developed an early appreciation of the French art masters. Monsieur Savary himself gave him a grounding in drawing and painting and suggested he draw from nature when he returned to St. Thomas. However, his father preferred he work in his business, giving him a job working as a cargo clerk and he took every opportunity during those next five years at the job to practise drawing during breaks and after work. When he turned twenty-one, Danish artist Fritz Melbye, then living on St. Thomas, inspired Pissarro to take on painting as a profession, becoming his teacher. Pissarro then chose to leave his family and job and live in Venezuela and he drew everything he could, including landscapes, village scenes, and numerous sketches, enough to fill up multiple sketchbooks. In 1855 he moved back to Paris where he working as assistant to Anton Melbye. In Paris he worked as assistant to Danish painter Anton Melbye and he also studied paintings by other artists whose style impressed him, Courbet, Charles-François Daubigny, Jean-François Millet, and Corot
Camille Pissarro
–
Circa 1900
Camille Pissarro
–
Paisaje tropical con casas rurales y palmeras, c. 1853.
Galería de Arte Nacional, Caracas
Camille Pissarro
–
Two Women Chatting by the Sea,
St. Thomas, (1856), (private collection)
Camille Pissarro
–
Jalais Hill, Pontoise,
Metropolitan Museum of Art 1867
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Renoir, "La Promenade" on YouTube, (1:49) Frick Collection
"Renoir, Firmin Auguste". Encyclopædia Britannica (11th ed.). 1911.
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