Sacramento is the capital city of the U. S. state of California and the seat of Sacramento County. Located at the confluence of the Sacramento River and the American River in Northern California's Sacramento Valley, Sacramento's estimated 2018 population of 501,334 makes it the sixth-largest city in California and the ninth largest capital in the United States. Sacramento is the seat of the California Assembly, the Governor of California, Supreme Court of California, making it the state's political center and a hub for lobbying and think tanks. Sacramento is the cultural and economic core of the Sacramento metropolitan area, which had 2010 population of 2,414,783, making it the fifth largest in California. Sacramento is the fastest-growing major city in California, owing to its status as a notable financial center on the West Coast and as a major educational hub, home of Sacramento State University and University of California, Davis. Sacramento is a major center for the California healthcare industry, as the seat of Sutter Health, the world-renowned UC Davis Medical Center, the UC Davis School of Medicine, notable tourist destination in California, as the site of The California Museum, the Crocker Art Museum, California Hall of Fame, the California State Capitol Museum, the Old Sacramento State Historic Park.
Sacramento is known for its evolving contemporary culture, dubbed the most "hipster city" in California. In 2002, the Harvard University Civil Rights Project conducted for Time magazine named Sacramento "America's Most Diverse City". Before the arrival of the Spanish, the area was inhabited by the Nisenan people indigenous peoples of California. Spanish cavalryman Gabriel Moraga surveyed and named the Rio del Santísimo Sacramento in 1808, after the Blessed Sacrament, referring to the Eucharist in the Catholic Church. In 1839, Juan Bautista Alvarado, Mexican governor of Alta California granted the responsibility of colonizing the Sacramento Valley to Swiss-born, Mexican citizen John Augustus Sutter, who subsequently established Sutter's Fort and the settlement at the Rancho Nueva Helvetia. Following the American Conquest of California and the 1848 Treaty of Guadalupe-Hidalgo, the waterfront developed by Sutter began to be developed and incorporated in 1850 as the City of Sacramento; as a result of the California Gold Rush, Sacramento became a major commercial center and distribution point for Northern California, serving as the terminus for the Pony Express and the First Transcontinental Railroad.
Nisenan and Plains Miwok Native Americans had lived in the area for thousands of years. Unlike the settlers who would make Sacramento their home, these Native Americans left little evidence of their existence. Traditionally, their diet was dominated by acorns taken from the plentiful oak trees in the region, by fruits, bulbs and roots gathered throughout the year. In 1808, the Spanish explorer Gabriel Moraga discovered and named the Sacramento Valley and the Sacramento River. A Spanish writer with the Moraga expedition wrote: "Canopies of oaks and cottonwoods, many festooned with grapevines, overhung both sides of the blue current. Birds chattered in the trees and big fish darted through the pellucid depths; the air was like champagne, drank deep of it, drank in the beauty around them. "¡Es como el sagrado sacramento!" The valley and the river were christened after the "Most Holy Sacrament of the Body and Blood of Christ", referring to the Catholic sacrament of the Eucharist. John Sutter Sr. first arrived in the area on August 13, 1839, at the divergence of the American and Sacramento Rivers with a Mexican land grant of 50,000 acres.
The next year, he and his party established Sutter's Fort, a massive adobe structure with walls eighteen feet high and three feet thick. Representing Mexico, Sutter Sr. called his colony New Helvetia, a Swiss inspired name, was the political authority and dispenser of justice in the new settlement. Soon, the colony began to grow as more pioneers headed west. Within just a few short years, Sutter Sr. had become a grand success, owning a ten-acre orchard and a herd of thirteen thousand cattle. Fort Sutter became a regular stop for the increasing number of immigrants coming through the valley. In 1847 Sutter Sr. received 2,000 fruit trees, which started the agriculture industry in the Sacramento Valley. That same year, Sutter Sr. hired James Marshall to build a sawmill so that he could continue to expand his empire, unbeknownst to many, Sutter Sr.'s "empire" had been built on some thin margins of credit. In 1848, when gold was discovered by James W. Marshall at Sutter's Mill in Coloma, a large number of gold-seekers came to the area, increasing the population.
In August 1848 Sutter Sr.'s son, John Sutter Jr. arrived in the area to assist his father in relieving his indebtedness. Now compounding the problem of his father's indebtedness, was the additional strain placed on the Sutters by the ongoing arrival of thousands of new gold miners and prospectors in the area, many quite content to squat on unwatched portions of the vast Sutter lands, or to abscond with various unattended Sutter properties or belongings if they could. In Sutter's case, rather than being a'boon' for Sutter, his employee's discovery of gold in the area turned out to be more of a personal'bane' for him. By December 1848, John Sutter Jr. in association with Sam Brannan, began laying out the City of Sacramento, 2 miles south of his father's settlement of New Helvetia. This venture was undertaken against the wishes of Sutter Sr. however the father, being in debt, was in no position to stop the venture. For
Impressionism is a 19th-century art movement characterized by small, yet visible brush strokes, open composition, emphasis on accurate depiction of light in its changing qualities, ordinary subject matter, inclusion of movement as a crucial element of human perception and experience, unusual visual angles. 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 conventional art community in France. The name of the style derives from the title of a Claude Monet work, soleil levant, which provoked the critic Louis Leroy to coin the term in a satirical review published in the Parisian newspaper Le Charivari; the development of Impressionism in the visual arts was soon followed by analogous styles in other media that became known as impressionist music and impressionist literature. Radicals in their time, early Impressionists violated the rules of academic painting.
They constructed their pictures from brushed colours that took precedence over lines and contours, following the example of painters such as Eugène Delacroix and J. M. W. Turner, they painted realistic scenes of modern life, painted outdoors. 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 outdoors or en plein air. They portrayed overall visual effects instead of details, used short "broken" brush strokes of mixed and pure unmixed colour—not blended smoothly or shaded, as was customary—to achieve an effect of intense colour vibration. Impressionism emerged in France at the same time that a number of other painters, including the Italian artists known as the Macchiaioli, Winslow Homer in the United States, were exploring plein-air painting; the Impressionists, developed new techniques specific to the style. Encompassing what its adherents argued was a different way of seeing, it is an art of immediacy and movement, of candid poses and compositions, of the play of light expressed in a bright and varied use of colour.
The public, at first hostile came to believe that the Impressionists had captured a fresh and original vision if the art critics and art establishment disapproved of the new style. By recreating the sensation in the eye that views the subject, rather than delineating the details of the subject, by creating a welter of techniques and forms, Impressionism is a precursor of various painting styles, including Neo-Impressionism, Post-Impressionism and Cubism. In the middle of the 19th century—a time of change, as Emperor Napoleon III rebuilt Paris and waged war—the Académie des Beaux-Arts dominated French art; the Académie was the preserver of traditional French painting standards of style. Historical subjects, religious themes, portraits were valued; the Académie preferred finished images that looked realistic when examined closely. Paintings in this style were made up of precise brush strokes blended to hide the artist's hand in the work. Colour was restrained and toned down further by the application of a golden varnish.
The Académie had an annual, juried art show, the Salon de Paris, artists whose work was displayed in the show won prizes, garnered commissions, enhanced their prestige. The standards of the juries represented the values of the Académie, represented by the works of such artists as Jean-Léon Gérôme and Alexandre Cabanel. In the early 1860s, four young painters—Claude Monet, Pierre-Auguste Renoir, Alfred Sisley, Frédéric Bazille—met while studying under the academic artist Charles Gleyre, they discovered that they shared an interest in painting landscape and contemporary life rather than historical or mythological scenes. Following a practice that had become popular by mid-century, they ventured into the countryside together to paint in the open air, but not for the purpose of making sketches to be developed into finished works in the studio, as was the usual custom. By painting in sunlight directly from nature, making bold use of the vivid synthetic pigments that had become available since the beginning of the century, they began to develop a lighter and brighter manner of painting that extended further the Realism of Gustave Courbet and the Barbizon school.
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, whom the younger artists admired. They were soon joined by Camille Pissarro, Paul Cézanne, Armand Guillaumin. During the 1860s, the Salon jury 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 Manet's The Luncheon on the Grass because it depicted a nude woman with two clothed men at a picnic. While the Salon jury accepted nudes in historical and allegorical paintings, they condemned Manet for placing a realistic nude in a contemporary setting; the jury's worded rejection of Manet's painting appalled his admirers, the unusually large number of rejected works that year perturbed many French artists. After Emperor Napoleon III saw the rejected works of 1863, he decreed that the public be allowed to judge the work themselves, the Salon des Refusés was organized.
While many viewers came only to laugh, the Salon des Refusés drew attention to the existence of a new tendency in art and attracted more visi
Pierre Puvis de Chavannes
Pierre Puvis de Chavannes was a French painter best known for his mural painting, who came to be known as'the painter for France'. He became the co-founder and president of the Société Nationale des Beaux-Arts, his work influenced many other artists, notably Robert Genin. Puvis de Chavannes was a prominent painter in the early Third Republic. Émile Zola described his work as "an art made of reason and will". Puvis de Chavannes was born Pierre-Cécile Puvis in a suburb of Lyon, France, he was the son of a mining engineer. Being descended from an old noble family of Burgundy, he added the ancestral'de Chavannes' to his name. Throughout his life, however, he spurned his Lyon origins, preferring to identify himself with the'strong' blood of the Burgundians, where his father originated. Puvis de Chavannes was educated at the Amiens College and at the Lycée Henri IV in Paris, he intended to follow his father's profession until a serious illness compelled him to convalesce at Mâcon with his brother and sister-in-law in 1844 and 1845, interrupting his studies.
A journey to Italy opened his mind to fresh ideas, on his return to Paris in 1846 he announced his intention to become a painter. He studied first under Eugène Delacroix, but only briefly, as Delacroix closed his studio shortly afterwards due to ill health, he studied subsequently under Henri Scheffer and Thomas Couture. His training was not classical as he found that he preferred to work alone, he took a large studio near the Gare de Lyon and attended anatomy classes at the Académie des Beaux Arts. It was not until a number of years when the government of France acquired one of his works, that he gained wide recognition. Puvis de Chavannes made his Salon debut in 1850 with Dead Christ, Negro Boy, The Reading Lesson, Portrait of a Man. In Montmartre, he had an affair with one of his models, Suzanne Valadon, who would become one of the leading artists of the day as well as the mother and mentor of Maurice Utrillo. From 1856, he was in a relationship with the Romanian princess, Marie Cantacuzène.
The couple were together for 40 years, were married before their deaths in 1898. Puvis de Chavannes' work is seen as symbolist in nature though he studied with some of the romanticists, he is credited with influencing an entire generation of painters and sculptors the works of the Modernists. One of his protégés was Georges de Feure. Puvis de Chavannes is best known for his mural painting, came to be known as'the painter for France.' His first commission was for his brother's chateau, Le Brouchy, a medieval-style structure near Cuiseaux in Saône-et-Loire. The principal decorations take the four seasons as their theme, his first public commissions came early in the 1860s, with work at the Musée de Picardie at Amiens. The first four works were Concordia, Bellum, Le Travail and Le Repos. Over the course of his career, Puvis received a substantial number of commissions for works to be carried out in public and private institutions throughout France, his early work at the Musée de Picardie had helped him to develop his classicizing style, the decorative aesthetic of his mural works.
Among his public works are the cycles completed at Amiens, at Marseille, at Lyon and at Poitiers. Of particular importance is the cycle at the Palais de Beaux Arts in Lyon, which includes three significant works, filling the wall space in the main staircase. From left to right, the works are Antique Vision, The Wood Dear to the Arts and the Muses, Christian Inspiration. Puvis' career was tied up with a complicated debate, ongoing since the beginning of the Third Republic, at the end of the violence of the Paris Commune; the question at stake was the identity of France and the meaning of'Frenchness'. Royalists felt that the revolution of 1789 had been an immense disaster and that France had been thrown off course, while the Republicans felt that the Revolution had allowed France to revert to its true course. Works that were to be displayed in public spaces, such as murals, had the important task of fulfilling the ideology of the commissioning party. Many scholars of Puvis's works have noted that his success as a'painter for France' was due to his ability to create works which were agreeable to the many ideologies in existence at this time.
His first Parisian commission was for a cycle at the church of Saint Genevieve, now the secular Pantheon, begun in 1874. His two subjects were L'Education de Sainte Geneviève and La Vie Pastoral de Sainte Geneviève; this commission was followed by works at the Sorbonne, namely the enormous hemicycle, The Sacred Grove or L'Ancienne Sorbonne amongst the muses in the Grand Amphitheater of the Sorbonne. His final commission in this trinity of Republican commissions was the crowning glory of Puvis's career, the works Summer and Winter, at the Hôtel de Ville in Paris. Many of these works are characterized by their nod to classical art, visible in the careful balanced compositions, the subject matter is a direct reference to visions of Hellenistic Greece in the case of Antique Vision. Puvis de Chavannes was president and co-founder in 1890 of the Société Nationale des Beaux-Arts founded in Paris, it became the dominant salon of art at the time and held exhibitions of contemporary art, selected only by a jury composed of the officers of the Société.
Those who translated best the spirit of the work of Pierre-Cécile Puvis de Chavannes' in their own creations were, in Germany, the painter Ludwig von Hofmann and in France, Auguste Rodin. His easel paintings may be found in many Am
Henri de Toulouse-Lautrec
Henri Marie Raymond de Toulouse-Lautrec-Monfa known as Henri de Toulouse-Lautrec, was a French painter, draughtsman and illustrator whose immersion in the colourful and theatrical life of Paris in the late 19th century allowed him to produce a collection of enticing and provocative images of the modern, sometimes decadent, affairs of those times. Toulouse-Lautrec is among the best-known painters of the Post-Impressionist period, with Paul Cézanne, Vincent van Gogh, Paul Gauguin. In a 2005 auction at Christie's auction house, La Blanchisseuse, his early painting of a young laundress, sold for US$22.4 million and set a new record for the artist for a price at auction. Henri Marie Raymond de Toulouse-Lautrec-Monfa was born at the Hôtel du Bosc in Albi, Tarn, in the Midi-Pyrénées region of France, the firstborn child of Alphonse Charles Comte de Toulouse-Lautrec-Monfa and his wife Adèle Zoë Tapié de Celeyran; the last part of his name means. His younger brother died the following year. If he had outlived his father, Toulouse-Lautrec would have succeeded to the family title of Comte.
After the death of his brother, Toulouse-Lautrec's parents separated and a nanny took care of him. At the age of eight, Toulouse-Lautrec went to live with his mother in Paris where he drew sketches and caricatures in his exercise workbooks; the family realized that his talents lay in drawing and painting. A friend of his father, René Princeteau, visited sometimes to give informal lessons; some of Toulouse-Lautrec's early paintings are of horses, a speciality of Princeteau, a subject Lautrec revisited in his "Circus Paintings". In 1875, Toulouse-Lautrec returned to Albi, he took thermal baths at Amélie-les-Bains, his mother consulted doctors in the hope of finding a way to improve her son's growth and development. Toulouse-Lautrec's parents, the Comte and Comtesse, were first cousins, he suffered from congenital health conditions sometimes attributed to a family history of inbreeding. At the age of 13, Toulouse-Lautrec fractured his right femur. At 14, he fractured his left; the breaks did not heal properly.
Modern physicians attribute this to an unknown genetic disorder pycnodysostosis, or a variant disorder along the lines of osteopetrosis, achondroplasia, or osteogenesis imperfecta. Rickets aggravated by praecox virilism has been suggested. Afterwards, his legs ceased to grow, so that as an adult he was short, he developed an adult-sized torso, while retaining his child-sized legs. Additionally, he is reported to have had hypertrophied genitals. Physically unable to participate in many activities enjoyed by males his age, Toulouse-Lautrec immersed himself in art, he became an important Post-Impressionist painter, art nouveau illustrator, lithographer, through his works, recorded many details of the late-19th-century bohemian lifestyle in Paris. Toulouse-Lautrec contributed a number of illustrations to the magazine Le Rire during the mid-1890s. After failing college entrance exams, he passed his second attempt and completed his studies. During a stay in Nice, his progress in painting and drawing impressed Princeteau, who persuaded Toulouse-Lautrec's parents to let him return to Paris and study under the portrait painter Léon Bonnat.
Toulouse-Lautrec's mother had high ambitions and, with the aim of her son becoming a fashionable and respected painter, used their family's influence to get him into Bonnat's studio. He was drawn to Montmartre, the area of Paris famous for its bohemian lifestyle and the haunt of artists and philosophers. Studying with Bonnat placed Toulouse-Lautrec in the heart of Montmartre, an area he left over the next 20 years. After Bonnat took a new job, Toulouse-Lautrec moved to the studio of Fernand Cormon in 1882 and studied for a further five years and established the group of friends he kept for the rest of his life. At this time he met Vincent van Gogh. Cormon, whose instruction was more relaxed than Bonnat's, allowed his pupils to roam Paris, looking for subjects to paint. During this period, Toulouse-Lautrec had his first encounter with a prostitute, which led him to paint his first painting of a prostitute in Montmartre, a woman rumoured to be Marie-Charlet. With his studies finished, in 1887 he participated in an exposition in Toulouse using the pseudonym "Tréclau", the verlan of the family name "Lautrec".
He exhibited in Paris with Van Gogh and Louis Anquetin. The Belgian critic Octave Maus invited him to present eleven pieces at the Vingt exhibition in Brussels in February. Van Gogh's brother Theo bought Poudre de Riz for 150 francs for the Cie gallery. From 1889 until 1894, Toulouse-Lautrec took part in the Independent Artists' Salon on a regular basis, he made several landscapes of Montmartre. Tucked deep into Montmartre in the garden of Monsieur Pere Foret, Toulouse-Lautrec executed a series of pleasant plein-air paintings of Carmen Gaudin, the same red-headed model who appears in The Laundress; when the Moulin Rouge cabaret opened, Toulouse-Lautrec was commissioned to produce a series of posters. His mother had left Paris and, though he had a regular income from his family, ma
Victor Marie Hugo was a French poet and dramatist of the Romantic movement. Hugo is considered to be one of the best-known French writers. Outside France, his most famous works are the novels Les Misérables, 1862, The Hunchback of Notre-Dame, 1831. In France, Hugo is known for his poetry collections, such as Les Contemplations and La Légende des siècles. Hugo was at the forefront of the Romantic literary movement with his play Cromwell and drama Hernani. Many of his works have inspired music, both during his lifetime and after his death, including the musicals Notre-Dame de Paris and Les Misérables, he produced more than 4,000 drawings in his lifetime, campaigned for social causes such as the abolition of capital punishment. Though a committed royalist when he was young, Hugo's views changed as the decades passed, he became a passionate supporter of republicanism, he is buried in the Panthéon in Paris. His legacy has been honoured in many ways, including his portrait being placed on French currency.
Victor Hugo was the third son of Joseph Léopold Sigisbert Sophie Trébuchet. He was born in 1802 in Besançon in the eastern region of Franche-Comté. On 19 November 1821, Léopold Hugo wrote to his son that he had been conceived on one of the highest peaks in the Vosges Mountains, on a journey from Lunéville to Besançon. " This elevated origin, he went on, seems to have had effects on you so that your muse is now continually sublime." Léopold Hugo was a freethinking republican. Hugo's childhood was a period of national political turmoil. Napoleon was proclaimed Emperor of the French two years after Hugo's birth, the Bourbon Monarchy was restored before his 13th birthday; the opposing political and religious views of Hugo's parents reflected the forces that would battle for supremacy in France throughout his life: Hugo's father was a high-ranking officer in Napoleon's army until he failed in Spain. Since Hugo's father was an officer, the family moved and Hugo learned much from these travels. On a childhood family trip to Naples, Hugo saw the vast Alpine passes and the snowy peaks, the magnificently blue Mediterranean, Rome during its festivities.
Though he was only five years old at the time, he remembered the six-month-long trip vividly. They stayed in Naples for a few months and headed back to Paris. At the beginning of her marriage, Hugo's mother Sophie followed her husband to posts in Italy and Spain. Weary of the constant moving required by military life and at odds with her husband's lack of Catholic beliefs, Sophie separated temporarily from Léopold in 1803 and settled in Paris with her children. Thereafter she dominated Hugo's upbringing; as a result, Hugo's early work in poetry and fiction reflect her passionate devotion to both King and Faith. It was only during the events leading up to France's 1848 Revolution, that he would begin to rebel against his Catholic Royalist education and instead champion Republicanism and Freethought. Young Victor fell in love with and became secretly engaged to his childhood friend Adèle Foucher, against his mother's wishes; because of his close relationship with his mother, Hugo waited until after her death to marry Adèle in 1822.
Adèle and Victor Hugo had their first child, Léopold, in 1823. On 28 August 1824, the couple's second child, Léopoldine was born, followed by Charles on 4 November 1826, François-Victor on 28 October 1828, Adèle on 28 July 1830. Hugo's eldest and favourite daughter, Léopoldine, died aged 19 in 1843, shortly after her marriage to Charles Vacquerie. On 4 September, she drowned in the Seine at Villequier, pulled down by her heavy skirts when a boat overturned, her young husband died trying to save her. The death left, he describes his shock and grief in his famous poem À Villequier: He wrote many poems afterwards about his daughter's life and death, at least one biographer claims he never recovered from it. His most famous poem is Demain, dès l'aube, in which he describes visiting her grave. Hugo decided to live in exile after Napoleon III's coup d'état at the end of 1851. After leaving France, Hugo lived in Brussels in 1851, before moving to the Channel Islands, first to Jersey and to the smaller island of Guernsey in 1855, where he stayed until Napoleon III's fall from power in 1870.
Although Napoleon III proclaimed a general amnesty in 1859, under which Hugo could have safely returned to France, the author stayed in exile, only returning when Napoleon III was forced from power as a result of the French defeat in the Franco-Prussian War in 1870. After the Siege of Paris from 1870 to 1871, Hugo lived again in Guernsey from 1872 to 1873, before returning to France for the remainder of his life. Hugo published his first novel the year following his marriage, his secon
The Salon, or 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, 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 Salon's original focus was the display of the work of recent graduates of the École des Beaux-Arts, created by Cardinal Mazarin, chief minister of France, in 1648. 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, became public. They were held, at first and biennially, in odd-numbered years, they would run for some weeks. Once made regular and public, the Salon's status was "never 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 available inch of space. The jostling of artwork became the subject of many other paintings, including Pietro Antonio Martini's Salon of 1785. 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. In the 19th century the idea of a public Salon extended to an annual government-sponsored juried exhibition of new painting and sculpture, held in large commercial halls, to which the ticket-bearing public was invited.
The vernissage of opening night was a grand social occasion, 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 reduced. In 1849 medals were introduced; the conservative and academic juries were not receptive to the Impressionist painters, whose works were rejected, or poorly placed if accepted. The Salon opposed the Impressionists' shift away from traditional painting styles. In 1857 the Salon jury turned away an unusually high number of the submitted paintings. An uproar resulted from regular exhibitors, 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. 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, a group of artists organized the Société des Artistes Français to take responsibility for the show. 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. Ernest Meissonier, Puvis de Chavannes, Auguste Rodin and others rejected this proposal and made a secession, they created the Société Nationale des Beaux-Arts and its own exhibition referred to in the press as the Salon du Champ de Mars or the Salon de la Société Nationale des Beaux–Arts. In 1903, in response to what many artists at the time felt was a bureaucratic and conservative organization, a group of painters and sculptors led by Pierre-Auguste Renoir and Auguste Rodin organized the Salon d'Automne. J. J. Marquet de Vasselot: Répertoire des catalogues du musée du Louvre, 1793–1917 Thomas Crow: Painters and Public Life in 18th Century Paris.
Yale University Press 1987 Patricia Mainardi: The End of the Salon: Art and the State in the Early Third Republic, Cambridge University Press, 1993. Fae Brauer and Conspirators: The Paris Salons and the Modern Art Centre, Newcastle upon Tyne, Cambridge Scholars, 2013. Albert Boime, "The Salon des Refuses and the Evolution of Modern Art," Art Quarterly 32: 41 1-26 Margo Bistis, "Bad Art: The Decline of Academic Art in the Caricatural Salon," International Journal of Comic Art 7, no.1. Timeline of the Paris Salons Harriet Griffiths and Alister Mill, Database of Salon Artists, 1827-1850
Woodcut is a relief printing technique in printmaking. An artist carves an image into the surface of a block of wood—typically with gouges—leaving the printing parts level with the surface while removing the non-printing parts. Areas that the artist cuts away carry no ink, while characters or images at surface level carry the ink to produce the print; the block is cut along the wood grain. The surface is covered with ink by rolling over the surface with an ink-covered roller, leaving ink upon the flat surface but not in the non-printing areas. Multiple colors can be printed by keying the paper to a frame around the woodblocks; the art of carving the woodcut can be called "xylography", but this is used in English for images alone, although that and "xylographic" are used in connection with block books, which are small books containing text and images in the same block. They became popular in Europe during the latter half of the 15th century. A single-sheet woodcut is a woodcut presented as a single image or print, as opposed to a book illustration.
Since it's origins in China, the practice of woodcut has spread across the world from Europe, to other parts of Asia, to Latin America. In both Europe and the Far East, traditionally the artist only designed the woodcut, the block-carving was left to specialist craftsmen, called block-cutters, or Formschneider in Germany, some of whom became well-known in their own right. Among these, the best-known are the 16th-century Hieronymus Andreae, Hans Lützelburger and Jost de Negker, all of whom ran workshops and operated as printers and publishers; the formschneider in turn handed the block on to specialist printers. There were further specialists; this is why woodcuts are sometimes described by museums or books as "designed by" rather than "by" an artist. The division of labour had the advantage that a trained artist could adapt to the medium easily, without needing to learn the use of woodworking tools. There were various methods of transferring the artist's drawn design onto the block for the cutter to follow.
Either the drawing would be made directly onto the block, or a drawing on paper was glued to the block. Either way, the artist's drawing was destroyed during the cutting process. Other methods were used, including tracing. In both Europe and the Far East in the early 20th century, some artists began to do the whole process themselves. In Japan, this movement was called sōsaku-hanga, as opposed to shin-hanga, a movement that retained traditional methods. In the West, many artists used the easier technique of linocut instead. Compared to intaglio techniques like etching and engraving, only low pressure is required to print; as a relief method, it is only necessary to ink the block and bring it into firm and contact with the paper or cloth to achieve an acceptable print. In Europe, a variety of woods including boxwood and several nut and fruit woods like pear or cherry were used. There are three methods of printing to consider: Stamping: Used for many fabrics and most early European woodcuts; these were printed by putting the paper/fabric on a table or other flat surface with the block on top, pressing or hammering the back of the block.
Rubbing: Apparently the most common method for Far Eastern printing on paper at all times. Used for European woodcuts and block-books in the fifteenth century, widely for cloth. Used for many Western woodcuts from about 1910 to the present; the block goes face up with the paper or fabric on top. The back is rubbed with a "hard pad, a flat piece of wood, a burnisher, or a leather frotton". A traditional Japanese tool used for this is called a baren. In Japan, complex wooden mechanisms were used to help hold the woodblock still and to apply proper pressure in the printing process; this was helpful once multiple colors were introduced and had to be applied with precision atop previous ink layers. Printing in a press: presses only seem to have been used in Asia in recent times. Printing-presses were used from about 1480 for European prints and block-books, before that for woodcut book illustrations. Simple weighted presses may have been used in Europe before the print-press, but firm evidence is lacking.
A deceased Abbess of Mechelen in 1465 had "unum instrumentum ad imprintendum scripturas et ymagines... cum 14 aliis lapideis printis"—"an instrument for printing texts and pictures... with 14 stones for printing". This is too early to be a Gutenberg-type printing press in that location. Main articles Old master print for Europe, Woodblock printing in Japan for Japan, Lubok for Russia Woodcut originated in China in antiquity as a method of printing on textiles and on paper; the earliest woodblock printed fragments to survive are from China, from the Han dynasty, are of silk printed with flowers in three colours. "In the 13th century the Chinese technique of blockprinting was transmitted to Europe." Paper arrived in Europe from China via al-Andalus later, was being manufactured in Italy by the end of the thirteenth century, in Burgundy and Germany by the end of the fourteenth. In Europe, woodcut is the oldest technique used for old master prints, developing about 1400, by using, on paper, existing techniques for printing.
One of the more ancient woodcuts on paper that can be seen today is The Fire Madonna, in the Cat