1.
Amersfoort
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Amersfoort is a municipality and the second largest city of the province of Utrecht in central Netherlands. The city is growing quickly but has a well-preserved and protected medieval centre, Amersfoort is one of the largest railway junctions in the country, because of its location on two of the Netherlands main east-west and north-south rail lines. It celebrated its 750th birthday as a city in 2009, hunter gatherers set up camps in the Amersfoort region in the Mesolithic period. Archaeologists have found traces of these camps, such as the remains of hearths, the city grew around what is now known as the central square, the Hof, where the Bishops of Utrecht established a court in order to control the Gelderse Vallei area. It was granted city rights in 1259 by the bishop of Utrecht, a first defensive wall, made out of brick, was finished around 1300. Soon after, the need for enlargement of the city became apparent and around 1380 the construction of a new wall was begun, the famous Koppelpoort, a combined land and water gate, is part of this second wall. The first wall was demolished and houses were built in its place, todays Muurhuizen Street is at the exact location of the first wall, the fronts of the houses are built on top of the first city walls foundations. The Onze-Lieve-Vrouwentoren tower is one of the tallest medieval church towers in the Netherlands at 98 metres, the construction of the tower and the church was started in 1444. It is now the point of the RD coordinate system, the coordinate grid used by the Dutch topographical service. The inner city of Amersfoort has been preserved well since the Middle Ages, in the Middle Ages, Amersfoort was an important centre for the textile industry, and there were a large number of breweries. In the 18th century the city flourished because of the cultivation of tobacco, after the 1920s growth stalled again, until in 1970 the national government designated Amersfoort, then numbering some 70,000 inhabitants, as a growth city. In 2009 the population was 140,000 plus, with an expected 150,000 by 2012, after four days of battle, the population was allowed to return. There was a functioning Jewish community in the town, at the beginning of the war numbering about 700 people, half of them were deported and killed, mainly in Auschwitz and Sobibor. In 1943, the synagogue, dating from 1727, was damaged on the orders of the then Nazi-controlled city government. It was restored and opened again after the war, and has served since by a succession of rabbis. There was a camp near the city of Amersfoort during the war. The camp, officially called Polizeiliches Durchgangslager Amersfoort, better known as Kamp Amersfoort, was located in the neighbouring municipality of Leusden. After the war the leader of the camp, Joseph Kotälla and he died in captivity in 1979
2.
Manhattan
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Manhattan is the most densely populated borough of New York City, its economic and administrative center, and the citys historical birthplace. The borough is coextensive with New York County, founded on November 1,1683, Manhattan is often described as the cultural and financial capital of the world and hosts the United Nations Headquarters. Many multinational media conglomerates are based in the borough and it is historically documented to have been purchased by Dutch colonists from Native Americans in 1626 for 60 guilders which equals US$1062 today. New York County is the United States second-smallest county by land area, on business days, the influx of commuters increases that number to over 3.9 million, or more than 170,000 people per square mile. Manhattan has the third-largest population of New York Citys five boroughs, after Brooklyn and Queens, the City of New York was founded at the southern tip of Manhattan, and the borough houses New York City Hall, the seat of the citys government. The name Manhattan derives from the word Manna-hata, as written in the 1609 logbook of Robert Juet, a 1610 map depicts the name as Manna-hata, twice, on both the west and east sides of the Mauritius River. The word Manhattan has been translated as island of hills from the Lenape language. The United States Postal Service prefers that mail addressed to Manhattan use New York, NY rather than Manhattan, the area that is now Manhattan was long inhabited by the Lenape Native Americans. In 1524, Florentine explorer Giovanni da Verrazzano – sailing in service of King Francis I of France – was the first European to visit the area that would become New York City. It was not until the voyage of Henry Hudson, an Englishman who worked for the Dutch East India Company, a permanent European presence in New Netherland began in 1624 with the founding of a Dutch fur trading settlement on Governors Island. In 1625, construction was started on the citadel of Fort Amsterdam on Manhattan Island, later called New Amsterdam, the 1625 establishment of Fort Amsterdam at the southern tip of Manhattan Island is recognized as the birth of New York City. In 1846, New York historian John Romeyn Brodhead converted the figure of Fl 60 to US$23, variable-rate myth being a contradiction in terms, the purchase price remains forever frozen at twenty-four dollars, as Edwin G. Burrows and Mike Wallace remarked in their history of New York. Sixty guilders in 1626 was valued at approximately $1,000 in 2006, based on the price of silver, Straight Dope author Cecil Adams calculated an equivalent of $72 in 1992. In 1647, Peter Stuyvesant was appointed as the last Dutch Director General of the colony, New Amsterdam was formally incorporated as a city on February 2,1653. In 1664, the English conquered New Netherland and renamed it New York after the English Duke of York and Albany, the Dutch Republic regained it in August 1673 with a fleet of 21 ships, renaming the city New Orange. Manhattan was at the heart of the New York Campaign, a series of battles in the early American Revolutionary War. The Continental Army was forced to abandon Manhattan after the Battle of Fort Washington on November 16,1776. The city, greatly damaged by the Great Fire of New York during the campaign, became the British political, British occupation lasted until November 25,1783, when George Washington returned to Manhattan, as the last British forces left the city
3.
New York City
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The City of New York, often called New York City or simply New York, is the most populous city in the United States. With an estimated 2015 population of 8,550,405 distributed over an area of about 302.6 square miles. Located at the tip of the state of New York. Home to the headquarters of the United Nations, New York is an important center for international diplomacy and has described as the cultural and financial capital of the world. Situated on one of the worlds largest natural harbors, New York City consists of five boroughs, the five boroughs – Brooklyn, Queens, Manhattan, The Bronx, and Staten Island – were consolidated into a single city in 1898. In 2013, the MSA produced a gross metropolitan product of nearly US$1.39 trillion, in 2012, the CSA generated a GMP of over US$1.55 trillion. NYCs MSA and CSA GDP are higher than all but 11 and 12 countries, New York City traces its origin to its 1624 founding in Lower Manhattan as a trading post by colonists of the Dutch Republic and was named New Amsterdam in 1626. The city and its surroundings came under English control in 1664 and were renamed New York after King Charles II of England granted the lands to his brother, New York served as the capital of the United States from 1785 until 1790. It has been the countrys largest city since 1790, the Statue of Liberty greeted millions of immigrants as they came to the Americas by ship in the late 19th and early 20th centuries and is a symbol of the United States and its democracy. In the 21st century, New York has emerged as a node of creativity and entrepreneurship, social tolerance. Several sources have ranked New York the most photographed city in the world, the names of many of the citys bridges, tapered skyscrapers, and parks are known around the world. Manhattans real estate market is among the most expensive in the world, Manhattans Chinatown incorporates the highest concentration of Chinese people in the Western Hemisphere, with multiple signature Chinatowns developing across the city. Providing continuous 24/7 service, the New York City Subway is one of the most extensive metro systems worldwide, with 472 stations in operation. Over 120 colleges and universities are located in New York City, including Columbia University, New York University, and Rockefeller University, during the Wisconsinan glaciation, the New York City region was situated at the edge of a large ice sheet over 1,000 feet in depth. The ice sheet scraped away large amounts of soil, leaving the bedrock that serves as the foundation for much of New York City today. Later on, movement of the ice sheet would contribute to the separation of what are now Long Island and Staten Island. The first documented visit by a European was in 1524 by Giovanni da Verrazzano, a Florentine explorer in the service of the French crown and he claimed the area for France and named it Nouvelle Angoulême. Heavy ice kept him from further exploration, and he returned to Spain in August and he proceeded to sail up what the Dutch would name the North River, named first by Hudson as the Mauritius after Maurice, Prince of Orange
4.
Rijksakademie van beeldende kunsten
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The Rijksakademie van beeldende kunsten was founded in 1870 in Amsterdam. It is an academy, a place where philosophers, academics and artists meet to test and exchange ideas. The school supports visual artists with a two-year curriculum, among its pioneers here were Georg Breitner, Jan Toorop, Piet Mondrian and Willem Arnoldus Witsen. Other artists connected with the academy were Hendrik Petrus Berlage, Willem Wiegmans, Constant Nieuwenhuijs, Karel Appel, Corneille, Ger Lataster, Willem Hofhuizen, the school provides an education academically comparable with a university. There are open each year, which provide an opportunity to see the work of young artists. From 1718 to 1819 Amsterdam had an art school, the Stadstekenacademie Amsterdam, in 1820, the Koninklijke Academie van Beeldende Kunsten continued the artistic tradition. The prevailing style was panel painting in oil, landscape painting influenced by neoclassicism, in 1869, the Amsterdam school received its present name. The academy was a place for philosophers, scientists and artists to come together and share knowledge, early students included George Hendrik Breitner, Isaac Israëls and Willem Witsen, who were influenced by Amsterdam Impressionism. Under director August Allebé, the Saint Luke student movement was founded, allebés cosmopolitan attitude changed the schools method of instruction, emphasizing the avant-garde. Around 1985, the received the additional title of Instituut voor Praktijkstudie. In 1992 it moved into a cavalry barracks at Sarphatistraat 470 in Amsterdam. In November 1999, it became an independent art institution, the school is financed by the Ministry of Education and private sponsors. The institute offers workshops with specialized technical personnel and a library focusing on art and art history. Students receive a scholarship and are offered a studio in which to live, in recent years nearly 1,200 students have applied for a place at the academy, and each year about 20 are accepted. The artists come from all over the world, with less than half from the Netherlands, artists and art critics are often invited to visit student studios. The Academy awards a Prix de Rome to eligible artists and architects, the award originated with the French Prix de Rome in 1666. In 1808 Louis Bonaparte introduced the prize in the Netherlands to promote art, since 1870 the Rijksakademie has made the award, the oldest and most valuable art prize in the Netherlands. In 1985, the Prix de Rome was reorganised, prize money was increased, and there were more participating artists, new art categories were added, which change annually
5.
Painting
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Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
6.
Gray Tree
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Gray Tree is an oil painting by Piet Mondrian. This painting was made in 1911 on canvas on a board measuring 78.5 ×107.5 cm and it is exhibited at Gemeentemuseum Den Haag, The Hague. The work came at a time when Mondrian was beginning to experiment with Cubism, its foreground and background seem to intermingle. The tree is subtly oval in form, following another Cubist practice seen in works by Pablo Picasso, mondrians oval became explicit, framing the work, in paintings that followed over the next three or four years. Apple Tree in Flower, also from 1912, is a similarly sized composition, though the outline of the apple tree recalls that of Gray Tree, the work is significantly more faceted and abstract
7.
Victory Boogie Woogie
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Victory Boogie Woogie is the last, unfinished, work by the Dutch abstract painter Piet Mondrian. Left incomplete in 1944, since 1998 it has been in the collection of the Gemeentemuseum in The Hague. It was purchased at a cost of 80 million guilders from the American collector Samuel Irving Newhouse and it was bought by the Stichting Nationaal Fonds Kunstbezit through a gift from the Dutch Central Bank, commemorating the introduction of the euro. This amount of money spent on the gift raised questions in the Dutch House of Representatives, the artwork was purchased by the Tremaines shortly after Mondrians death and became part of the Miller Company Collection of Abstract Art in Meriden, Connecticut. The exhibition catalogue essay was by Henry-Russell Hitchcock with foreword by Alfred Barr at the Museum of Modern Art, a photo of the painting in on the cover of the biography of art collector Emily Hall Tremaine as well as the exhibition catalogue The Tremaine Collection, 20th century masters]. In 2014, U. S. President Barack Obama was photographed with Victory Boogie Woogie, sometimes with Dutch politicians, an Explanation of Victory Boogie Woogie by Artist Michael Sciam
8.
De Stijl
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De Stijl, Dutch for The Style, also known as neoplasticism, was a Dutch artistic movement founded in 1917 in Amsterdam. The De Stijl consisted of artists and architects In a narrower sense, De Stijl is also the name of a journal that was published by the Dutch painter, designer, writer, and critic Theo van Doesburg that served to propagate the groups theories. Next to van Doesburg, the principal members were the painters Piet Mondrian, Vilmos Huszár, and Bart van der Leck, and the architects Gerrit Rietveld, Robert van t Hoff. The artistic philosophy that formed a basis for the work is known as neoplasticism—the new plastic art. Mondrian sets forth the delimitations of neoplasticism in his essay Neo-Plasticism in Pictorial Art and he writes, this new plastic idea will ignore the particulars of appearance, that is to say, natural form and colour. On the contrary, it should find its expression in the abstraction of form and colour, that is to say, in the straight line and the clearly defined primary colour. With these constraints, his art allows only primary colours and non-colours, only squares and rectangles, only straight, in general, De Stijl proposed ultimate simplicity and abstraction, both in architecture and painting, by using only straight horizontal and vertical lines and rectangular forms. Furthermore, their vocabulary was limited to the primary colours, red, yellow, and blue. The works avoided symmetry and attained aesthetic balance by the use of opposition and this element of the movement embodies the second meaning of stijl, a post, jamb or support, this is best exemplified by the construction of crossing joints, most commonly seen in carpentry. This feature can be found in the Rietveld Schröder House and the Red, De Stijl was influenced by Cubist painting as well as by the mysticism and the ideas about ideal geometric forms in the neoplatonic philosophy of mathematician M. H. J. Schoenmaekers. The De Stijl movement was influenced by Neopositivism. The works of De Stijl would influence the Bauhaus style and the style of architecture as well as clothing. However, it did not follow the guidelines of an -ism, nor did it adhere to the principles of art schools like the Bauhaus, it was a collective project. In music, De Stijl was an only on the work of composer Jakob van Domselaer. Between 1913 and 1916, he composed his Proeven van Stijlkunst and this minimalistic—and, at the time, revolutionary—music defined horizontal and vertical musical elements and aimed at balancing those two principles. Van Domselaer was relatively unknown in his lifetime, and did not play a significant role within the De Stijl group. From the flurry of new art movements that followed the Impressionist revolutionary new perception of painting, Cubism arose in the early 20th century as an important, in the Netherlands, too, there was interest in this new art. During that period, painter Theo van Doesburg started looking for artists to set up a journal
9.
Abstract art
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Abstract art uses a visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world. Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective, the arts of cultures other than the European had become accessible and showed alternative ways of describing visual experience to the artist. By the end of the 19th century many artists felt a need to create a new kind of art which would encompass the fundamental changes taking place in technology, science and philosophy. The sources from which individual artists drew their theoretical arguments were diverse, Abstract art, non-figurative art, non-objective art, and nonrepresentational art are loosely related terms. They are similar, but perhaps not of identical meaning, Abstraction indicates a departure from reality in depiction of imagery in art. This departure from accurate representation can be slight, partial, or complete, even art that aims for verisimilitude of the highest degree can be said to be abstract, at least theoretically, since perfect representation is likely to be exceedingly elusive. Artwork which takes liberties, altering for instance color and form in ways that are conspicuous, total abstraction bears no trace of any reference to anything recognizable. In geometric abstraction, for instance, one is unlikely to find references to naturalistic entities, Figurative art and total abstraction are almost mutually exclusive. But figurative and representational art often contains partial abstraction, both geometric abstraction and lyrical abstraction are often totally abstract. It is at level of visual meaning that abstract art communicates. One can enjoy the beauty of Chinese calligraphy or Islamic calligraphy without being able to read it, in Chinese painting, abstraction can be traced to the Tang dynasty painter Wang Mo, who is credited to have invented the splashed-ink painting style. While none of his paintings remain, this style is seen in some Song Dynasty Paintings. A late Song painter named Yu Jian, adept to Tiantai buddhism and his paintings show heavily misty mountains in which the shapes of the objects are barely visible and extremely simplified. This type of painting was continued by Sesshu Toyo in his later years, another instance of abstraction in Chinese painting is seen in Zhu Deruns Cosmic Circle. The painting is a reflection of the Daoist metaphysics in which chaos, in Tokugawa Japan some zen monk-painters created Enso, a circle who represents the absolute enlightenment. Usually made in one spontaneous brush stroke, it became the paradigm of the minimalist aesthetic that guided part of the zen painting, three art movements which contributed to the development of abstract art were Romanticism, Impressionism and Expressionism. Artistic independence for artists was advanced during the 19th century, patronage from the church diminished and private patronage from the public became more capable of providing a livelihood for artists. Expressionist painters explored the use of paint surface, drawing distortions and exaggerations
10.
Theo van Doesburg
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Theo van Doesburg was a Dutch artist, who practiced painting, writing, poetry and architecture. He is best known as the founder and leader of De Stijl, Theo van Doesburg was born Christian Emil Marie Küpper on August 30,1883, in Utrecht, the Netherlands, as the son of the photographer Wilhelm Küpper and Henrietta Catherina Margadant. After a short training in acting and singing he decided to become a painter and he always regarded his stepfather, Theodorus Doesburg, to be his natural father, so that his first works are signed with Theo Doesburg, to which he later added the insertion van. His first exhibition was in 1908, from 1912 onwards, he supported his works by writing for magazines. This suddenly changed in 1913 after reading Wassily Kandinskys Rückblicke, in which he looks back at his life as a painter from 1903–1913. It made him realize there was a higher, more level in painting that originates from the mind rather than from everyday life. It was already in 1912 that Van Doesburg was criticizing Futurism in an art article in Eenheid no. 127, on November 9,1912, because The mimetic expression of velocity is diametrically opposed to the character of painting, on November 6,1915, he wrote in the same journal, Mondrian realizes the importance of line. The line has almost become a work of art in itself, the white canvas is almost solemn. Each superfluous line, each wrongly placed line, any color placed without veneration or care, can spoil everything—that is, Van Doesburg saw in these paintings his ideal in painting, a complete abstraction of reality. Soon after the exposition Van Doesburg got in contact with Mondrian, and together with related artists Bart van der Leck, Anthony Kok, Vilmos Huszar, oud they founded the magazine De Stijl in 1917. Although De Stijl was made up of members, Van Doesburg was the ambassador of the movement. He moved to Weimar in 1922, deciding to make an impression on the Bauhaus principal, Walter Gropius, while Gropius accepted many of the precepts of contemporary art movements he did not feel that Doesburg should become a Bauhaus master. Doesburg then installed himself near to the Bauhaus buildings and started to attract students interested in the new ideas of Constructivism. The friendship between Van Doesburg and Mondrian remained strong in these years, although their way of communication was by letter. In 1923 Van Doesburg moved to Paris together with his later wife Nelly van Moorsel, because the two men got to see each other on a much more regular basis the differences in character became apparent, Mondrian was an introvert, while van Doesburg was more flamboyant and extravagant. During 1924 the two men had disagreements, which led to a split in the same year. Mondrian accepted some concepts of diagonals, such as in his Lozenge paintings, in recent years, however, this theory gained critique from art historians such as Carel Blotkamp, who cites their different concepts about space and time as the main reason for the split
11.
Representation (arts)
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Representation is the use of signs that stand in for and take the place of something else. It is through representation that people organize the world and reality through the act of naming its elements, Signs are arranged in order to form semantic constructions and express relations. Representation has been associated with aesthetics and semiotics, mitchell says representation is an extremely elastic notion, which extends all the way from a stone representing a man to a novel representing the day in the life of several Dubliners. The term representation carries a range of meanings and interpretations, in literary theory, representation is commonly defined in three ways. A representation is a type of recording in which the information about a physical object is described in a medium. The degree to which an artistic representation resembles the object it represents is a function of resolution, since ancient times representation has played a central role in understanding literature, aesthetics and semiotics. Plato and Aristotle are key figures in literary theory who considered literature as simply one form of representation. Aristotle for instance, considered each mode of representation, verbal, visual or musical, therefore, what distinguishes humans from other animals is their ability to create and manipulate signs. Aristotle deemed mimesis as natural to man, therefore considered representations as necessary for learning and being in the world. Plato, in contrast, looked upon representation with more caution and he recognised that literature is a representation of life, yet also believed that representations create worlds of illusion leading one away from the real things. For Plato, representation, like contemporary media, intervenes between the viewer and the real, creating illusions that lead one away from real things, Aristotle went on to say it was a definitively human activity. From childhood man has an instinct for representation, and in this respect man differs from the animals that he is far more imitative. Aristotle discusses representation in three ways— The object, The symbol being represented, manner, The way the symbol is represented. Means, The material that is used to represent it, the means of literary representation is language. An important part of representation is the relationship between what the material and what it represents, the questions arising from this are, A stone may represent a man but how. And by what and by agreement, does this understanding of the representation occur. One apprehends reality only through representations of reality, through texts, discourses, images, consequently, throughout the history of human culture, people have become dissatisfied with languages ability to express reality and as a result have developed new modes of representation. It is necessary to construct new ways of seeing reality, as people only know reality through representation, from this arises the contrasting and alternate theories and representational modes of abstraction, realism and modernism, to name a few
12.
Primary color
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A set of primary colors is a small, arbitrary set of pigmented physical media, lights or purely abstract elements of a mathematical colorspace model. Distinct colors from a larger gamut can be specified in terms of a mixture of colors which facilitates technological applications such as painting, electronic displays. Any small set of pigments or lights are imperfect physical primary colors in that they cannot be mixed to yield all possible colors that can be perceived by the color vision system. In an additive set of colors, as in coincident projected lights or in electronic visual displays, in a subtractive set of colors, as in mixing of pigments or dyes for printing, the colors magenta, yellow and cyan are normally used. See RGB color model, and CMYK color model for more on these sets of primary colors. Primary colors are not a property of light but are related to the color vision system in animals. The human eye normally contains three types of color photoreceptors that are associated with specialized cone cells. Each photoreceptor responds to different ranges of the electromagnetic spectrum. Humans and other species with three types of color photoreceptor are known as trichromats. Color appearance models like CIECAM02 describe color more generally in six dimensions, most placental mammals other than primates have only two types of color photoreceptor and are therefore dichromats while birds and marsupials are tetrachromats with four color photoreceptor types. There is no peer reviewed scholarly work that has confirmed the existence of a functional human tetrachromat though they are suspected to exist. Demonstrating improved spectral discrimination in any animal can be difficult since complex sets of neurons affect color perception in ways that are difficult to interrogate. Before the nature of colorimetry and visual physiology were well understood a number of color models assigned primary colors to different hues. Young originally proposed red, green and violet, and Maxwell changed violet to blue, Helmholtz proposed a slightly red, a vegetation-green, slightly yellowish. In modern understanding, human cells do not correspond precisely to a specific set of primary colors. There are hundreds of available pigments for visual artists to use. A common approach is to use just a palette of pigments that can be physically mixed to any color that the artist desires in the final work. Contemporary classical realists have often advocated that a palette of white, red, yellow
13.
Paris
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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
14.
Cubism
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Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. Cubism has been considered the most influential art movement of the 20th century, the term is broadly used in association with a wide variety of art produced in Paris during the 1910s and extending through the 1920s. The movement was pioneered by Georges Braque and Pablo Picasso, joined by Andre Lhote, Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris. A primary influence that led to Cubism was the representation of form in the late works of Paul Cézanne. The impact of Cubism was far-reaching and wide-ranging, Cubism spread rapidly across the globe and in doing so evolved to a greater or lesser extent. In essence, Cubism was the origin of a process that produced diversity. In France, offshoots of Cubism developed, including Orphism, Abstract art, in other countries Futurism, Suprematism, Dada, Constructivism, De Stijl and Art Deco developed in response to Cubism. Other common threads between these movements include the faceting or simplification of geometric forms, and the association of mechanization. Cubism began between 1907 and 1911, Pablo Picassos 1907 painting Les Demoiselles dAvignon has often been considered a proto-Cubist work. Georges Braques 1908 Houses at L’Estaque prompted the critic Louis Vauxcelles to refer to bizarreries cubiques, Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings. A second phase, Synthetic Cubism, remained vital until around 1919, english art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. Douglas Coopers restrictive use of terms to distinguish the work of Braque, Picasso, Gris. Alternative interpretations of Cubism have therefore developed, wider views of Cubism include artists who were later associated with the Salle 41 artists, e. g. John Berger identifies the essence of Cubism with the mechanical diagram. The metaphorical model of Cubism is the diagram, The diagram being a symbolic representation of invisible processes, forces, structures. A diagram need not eschew certain aspects of appearance but these too will be treated as not as imitations or recreations. During the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian, artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein, at a time when artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks. Picassos paintings of 1907 have been characterized as Protocubism, as seen in Les Demoiselles dAvignon
15.
20th-century art
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20th-century art—and what it became as modern art—began with modernism in the late 19th century. Nineteenth-century movements of Post-Impressionism, Art Nouveau and Symbolism led to the first twentieth-century art movements of Fauvism in France, Fauvism in Paris introduced heightened non-representational colour into figurative painting. Die Brücke strove for emotional Expressionism, another German group was Der Blaue Reiter, led by Kandinsky in Munich, who associated the blue rider image with a spiritual non-figurative mystical art of the future. Kandinsky, Kupka, R. Delaunay and Picabia were pioneers of abstract art, cubism, generated by Picasso, Braque, Metzinger, Gleizes and others rejected the plastic norms of the Renaissance by introducing multiple perspectives into a two-dimensional image. Futurism incorporated the depiction of movement and machine age imagery, parallel movements in Russia were Suprematism, where Kasimir Malevich also created non-representational work, notably a black canvas. The Jack of Diamonds group with Mikhail Larionov was expressionist in nature, dadaism preceded Surrealism, where the theories of Freudian psychology led to the depiction of the dream and the unconscious in art in work by Salvador Dalí. Detachment from the world of imagery was reversed in the 1960s by the Pop Art movement, notably Andy Warhol, Warhol also minimised the role of the artist, often employing assistants to make his work and using mechanical means of production, such as silkscreen printing. This marked a change from Modernism to Post-Modernism, photorealism evolved from Pop Art and as a counter to Abstract Expressionists. Media related to Modern art at Wikimedia Commons
16.
Color Field
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Color Field painting is a style of abstract painting that emerged in New York City during the 1940s and 1950s. It was inspired by European modernism and closely related to Abstract Expressionism, Color Field is characterized primarily by large fields of flat, solid color spread across or stained into the canvas creating areas of unbroken surface and a flat picture plane. The movement places less emphasis on gesture, brushstrokes and action in favour of a consistency of form. In color field painting color is freed from objective context and becomes the subject in itself, the focus of attention in the world of contemporary art began to shift from Paris to New York after World War II and the development of American Abstract Expressionism. During the late 1940s and early 1950s Clement Greenberg was the first art critic to suggest and identify a dichotomy between differing tendencies within the Abstract Expressionist canon. Mark Rothko was one of the painters that Greenberg referred to as a Color Field painter exemplified by Magenta, Black, Green on Orange, for Rothko, color was merely an instrument. What is common among these stylistic innovations is a concern for tragedy, ecstasy, by 1958, whatever spiritual expression Rothko meant to portray on canvas, it was growing increasingly darker. His bright reds, yellows and oranges of the early 1950s subtly transformed into dark blues, greens, grays and his final series of paintings from the mid-1960s were gray, and black with white borders, seemingly abstract landscapes of an endless bleak, tundra-like, unknown country. In 1947, during a subsequent semester teaching at the California School of Fine Art, Rothko, Still was considered one of the foremost Color Field painters – his non-figurative paintings are largely concerned with the juxtaposition of different colors and surfaces. His jagged flashes of color give the impression that one layer of color has been torn off the painting, revealing the colors underneath, reminiscent of stalactites, stills arrangements are irregular, jagged, and pitted with heavy texture and sharp surface contrast as seen above in 1957D1. Another artist whose best known works relate to abstract expressionism and to color field painting is Robert Motherwell. Robert Motherwells Elegy to the Spanish Republic No.110 is the work of a pioneer of both Abstract Expressionism and Color Field painting. Robert Motherwells Elegy to The Spanish Republic series embodies both tendencies, while Motherwells Open Series of the late 1960s, 1970s and 1980s places him firmly within the Color Field camp. Barnett Newman is considered one of the figures in abstract expressionism. Newmans mature work is characterised by areas of pure and flat separated by thin vertical lines, or zips as Newman called them. Newman himself thought that he reached his fully mature style with the Onement series seen here, the zips define the spatial structure of the painting while simultaneously dividing and uniting the composition. Newmans late works, such as the Whos Afraid of Red, Yellow and Blue series, use vibrant, pure colors, another critical view advanced by Clement Greenberg connects Pollocks allover canvasses to the large-scale Water Lilies of Claude Monet done during the 1920s. In several paintings that Pollock painted after his classic drip painting period of 1947-1950, he used the technique of staining fluid oil paint, during 1951 he produced a series of semi-figurative black stain paintings, and in 1952 he produced stain paintings using color
17.
Abstract expressionism
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Action painting, sometimes called gestural abstraction, is a style of painting in which paint is spontaneously dribbled, splashed or smeared onto the canvas, rather than being carefully applied. The resulting work often emphasizes the act of painting itself as an essential aspect of the finished work or concern of its artist. The style was widespread from the 1940s until the early 1960s, a comparison is often drawn between the American action painting and the French tachisme. According to Rosenberg the canvas was an arena in which to act, to Greenberg, it was the physicality of the paintings clotted and oil-caked surfaces that was the key to understanding them. – Clement Greenberg, Post Painterly Abstraction and it is essential for the understanding of action painting to place it in historical context. Action painting took this a further, using both Jung and Freud’s ideas of the subconscious as its underlying foundations. The paintings of the Action painters were not meant to portray objects per se or even specific emotions, instead they were meant to touch the observer deep in the subconscious mind, evoking a sense of the primeval and tapping the collective sense of an archetypal visual language. This was done by the artist painting unconsciously, and spontaneously, creating an arena of raw emotion and action. Action painting was influenced by the surrealist emphasis on automatism which influenced by psychoanalysis claimed a more direct access to the subconscious mind. Important exponents of this concept of art making were the painters Joan Miró, however the action painters took everything the surrealists had done a step further. Action Writing, Jack Kerouacs Wild Form, Carbondale, IL, auction record including a color image of a 1960 action painting by Elaine Hamilton. 9th Street Art Exhibition-abstract expressionist artists reminisce—YouTube video
18.
Minimalism
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In visual arts, music, and other mediums, minimalism is a style that uses pared-down design elements. Minimalism began in post–World War II Western art, most strongly with American visual arts in the 1960s, prominent artists associated with minimalism include Donald Judd, John McCracken, Agnes Martin, Dan Flavin, Robert Morris, Anne Truitt, and Frank Stella. It derives from the reductive aspects of modernism and is interpreted as a reaction against abstract expressionism. Minimalism in music often features repetition and iteration such as those of the compositions of La Monte Young, Terry Riley, Steve Reich, Philip Glass, the term minimalist often colloquially refers to anything that is spare or stripped to its essentials. It has accordingly been used to describe the plays and novels of Samuel Beckett, the films of Robert Bresson, the stories of Raymond Carver, and the automobile designs of Colin Chapman. The word was first used in English in the early 20th century to describe a 1913 composition by the Russian painter Kasimir Malevich of a square on a white ground. Guggenheim Museum curated by Lawrence Alloway also in 1966 that showcased Geometric abstraction in the American art world via Shaped canvas, Color Field, in the wake of those exhibitions and a few others the art movement called minimal art emerged. Minimal art is inspired in part by the paintings of Barnett Newman, Ad Reinhardt, Josef Albers, and the works of artists as diverse as Pablo Picasso, Marcel Duchamp, Giorgio Morandi. Minimalism was also a reaction against the painterly subjectivity of Abstract Expressionism that had been dominant in the New York School during the 1940s and 1950s. The philosopher or art historian who can envision me—or anyone at all—arriving at aesthetic judgments in this way reads shockingly more into himself or herself than into my article. They very explicitly stated that their art was not about self-expression, in general, minimalisms features included geometric, often cubic forms purged of much metaphor, equality of parts, repetition, neutral surfaces, and industrial materials. Robert Morris, a theorist and artist, wrote a three part essay, Notes on Sculpture 1-3, originally published across three issues of Artforum in 1966. In these essays, Morris attempted to define a conceptual framework and formal elements for himself and these essays paid great attention to the idea of the gestalt - parts. Bound together in such a way that create a maximum resistance to perceptual separation. Morris later described an art represented by a marked lateral spread, the general shift in theory of which this essay is an expression suggests the transition into what would later be referred to as postminimalism. Stellas decisions about structures on the front surface of the canvas were therefore not entirely subjective, in the show catalog, Carl Andre noted, Art excludes the unnecessary. Frank Stella has found it necessary to paint stripes, there is nothing else in his painting. Because of a tendency in art to exclude the pictorial, illusionistic and fictive in favor of the literal, there was a movement away from painterly
19.
Design
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Design is the creation of a plan or convention for the construction of an object, system or measurable human interaction. Design has different connotations in different fields, in some cases, the direct construction of an object is also considered to use design thinking. Designing often necessitates considering the aesthetic, functional, economic, and it may involve considerable research, thought, modeling, interactive adjustment, and re-design. Meanwhile, diverse kinds of objects may be designed, including clothing, graphical user interfaces, skyscrapers, corporate identities, business processes, and even methods or processes of designing. Thus design may be a substantive referring to an abstraction of a created thing or things. It is an act of creativity and innovation, here, a specification can be manifested as either a plan or a finished product, and primitives are the elements from which the design object is composed. With such a broad denotation, there is no language or unifying institution for designers of all disciplines. This allows for many differing philosophies and approaches toward the subject, the person designing is called a designer, which is also a term used for people who work professionally in one of the various design areas usually specifying which area is being dealt with. A designers sequence of activities is called a process while the scientific study of design is called design science. Another definition of design is planning to manufacture an object, system, thus the word design can be used as a noun or a verb. In a broader sense, the design is an applied art, while the definition of design is fairly broad, design has a myriad of specifications that professionals utilize in their fields. Substantial disagreement exists concerning how designers in many fields, whether amateur or professional, alone or in teams, the prevailing view has been called The Rational Model, Technical Problem Solving and The Reason-Centric Perspective. The alternative view has been called Reflection-in-Action, Evolutionary Design, co-evolution, the Rational Model was independently developed by Herbert A. Simon, an American scientist, and Gerhard Pahl and Wolfgang Beitz, two German engineering design theorists. The Rational Model is based on a rationalist philosophy and underlies the waterfall model, systems development life cycle, according to the rationalist philosophy, design is informed by research and knowledge in a predictable and controlled manner. Technical rationality is at the center of the process, each stage has many associated best practices. Unrealistic assumptions – goals are often unknown when a design project begins, the Action-Centric Perspective is a label given to a collection of interrelated concepts, which are antithetical to The Rational Model. Substantial empirical evidence supports the veracity of this perspective in describing the actions of real designers, like the Rational Model, the Action-Centric model sees design as informed by research and knowledge. Designers context-dependent experience and professional judgment take center stage more than technical rationality, at least two views of design activity are consistent with the Action-Centric Perspective
20.
Architecture
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Architecture is both the process and the product of planning, designing, and constructing buildings and other physical structures. Architectural works, in the form of buildings, are often perceived as cultural symbols. Historical civilizations are often identified with their surviving architectural achievements, Architecture can mean, A general term to describe buildings and other physical structures. The art and science of designing buildings and nonbuilding structures, the style of design and method of construction of buildings and other physical structures. A unifying or coherent form or structure Knowledge of art, science, technology, the design activity of the architect, from the macro-level to the micro-level. The practice of the architect, where architecture means offering or rendering services in connection with the design and construction of buildings. The earliest surviving work on the subject of architecture is De architectura. According to Vitruvius, a building should satisfy the three principles of firmitas, utilitas, venustas, commonly known by the original translation – firmness, commodity. An equivalent in modern English would be, Durability – a building should stand up robustly, utility – it should be suitable for the purposes for which it is used. Beauty – it should be aesthetically pleasing, according to Vitruvius, the architect should strive to fulfill each of these three attributes as well as possible. Leon Battista Alberti, who elaborates on the ideas of Vitruvius in his treatise, De Re Aedificatoria, saw beauty primarily as a matter of proportion, for Alberti, the rules of proportion were those that governed the idealised human figure, the Golden mean. The most important aspect of beauty was, therefore, an inherent part of an object, rather than something applied superficially, Gothic architecture, Pugin believed, was the only true Christian form of architecture. The 19th-century English art critic, John Ruskin, in his Seven Lamps of Architecture, Architecture was the art which so disposes and adorns the edifices raised by men. That the sight of them contributes to his health, power. For Ruskin, the aesthetic was of overriding significance and his work goes on to state that a building is not truly a work of architecture unless it is in some way adorned. For Ruskin, a well-constructed, well-proportioned, functional building needed string courses or rustication, but suddenly you touch my heart, you do me good. I am happy and I say, This is beautiful, le Corbusiers contemporary Ludwig Mies van der Rohe said Architecture starts when you carefully put two bricks together. The notable 19th-century architect of skyscrapers, Louis Sullivan, promoted an overriding precept to architectural design, function came to be seen as encompassing all criteria of the use, perception and enjoyment of a building, not only practical but also aesthetic, psychological and cultural
21.
Fashion
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Fashion is a popular style or practice, especially in clothing, footwear, accessories, makeup, body, or furniture. Fashion is a distinctive and often constant trend in the style in which a person dresses and it is the prevailing styles in behaviour and the newest creations of textile designers. Although aspects of fashion can be feminine or masculine, some trends are androgynous, early Western travelers, traveling whether to Persia, Turkey, India, or China, would frequently remark on the absence of change in fashion in the respective places. The Japanese Shoguns secretary bragged to a Spanish visitor in 1609 that Japanese clothing had not changed in over a thousand years, however, there is considerable evidence in Ming China of rapidly changing fashions in Chinese clothing. Changes in costume took place at times of economic or social change, as occurred in ancient Rome. In 8th-century Moorish Spain, the musician Ziryab introduced to Córdoba sophisticated clothing-styles based on seasonal and daily fashions from his native Baghdad, modified by his own inspiration. Similar changes in fashion occurred in the 11th century in the Middle East following the arrival of the Turks, who introduced clothing styles from Central Asia, the beginning in Europe of continual and increasingly rapid change in clothing styles can be fairly reliably dated. This created the distinctive Western outline of a tailored top worn over leggings or trousers, the pace of change accelerated considerably in the following century, and women and mens fashion, especially in the dressing and adorning of the hair, became equally complex. Art historians are able to use fashion with confidence and precision to date images, often to within five years. These national styles remained very different until a counter-movement in the 17th to 18th centuries imposed similar styles once again, in the 16th century, national differences were at their most pronounced. Ten 16th century portraits of German or Italian gentlemen may show ten entirely different hats, albrecht Dürer illustrated the differences in his actual contrast of Nuremberg and Venetian fashions at the close of the 15th century. Though textile colors and patterns changed from year to year, the cut of a gentlemans coat, by 1800, all Western Europeans were dressing alike, local variation became first a sign of provincial culture and later a badge of the conservative peasant. The Haute house was the established by government for the fashion houses that met the standards of industry. Since then, the idea of the designer as a celebrity in his or her own right has become increasingly dominant. The impact of unisex expands more broadly to various themes in fashion including androgyny, mass-market retail. Fashion weeks are held in cities, where designers exhibit their new clothing collections to audiences. Modern Westerners have a number of choices available in the selection of their clothes. What a person chooses to wear can reflect his or her personality or interests, when people who have high cultural status start to wear new or different clothes, a fashion trend may start
22.
Modernism
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Among the factors that shaped modernism were the development of modern industrial societies and the rapid growth of cities, followed then by reactions of horror to World War I. Modernism also rejected the certainty of Enlightenment thinking, and many modernists rejected religious belief, the poet Ezra Pounds 1934 injunction to Make it new. Was the touchstone of the approach towards what it saw as the now obsolete culture of the past. In this spirit, its innovations, like the novel, atonal and twelve-tone music, divisionist painting and abstract art. Modernism explicitly rejected the ideology of realism and makes use of the works of the past by the employment of reprise, incorporation, rewriting, recapitulation, revision, others focus on modernism as an aesthetic introspection. While J. M. W. Art critic Clement Greenberg describes the Pre-Raphaelite Brotherhood as proto-Modernists, There the proto-Modernists were, of all people, the Pre-Raphaelites actually foreshadowed Manet, with whom Modernist painting most definitely begins. They acted on a dissatisfaction with painting as practiced in their time, rationalism has also had opponents in the philosophers Søren Kierkegaard and later Friedrich Nietzsche, both of whom had significant influence on existentialism. A major 19th-century engineering achievement was The Crystal Palace, the huge cast-iron, Glass and iron were used in a similar monumental style in the construction of major railway terminals in London, such as Paddington Station and Kings Cross Station. These technological advances led to the building of structures like the Brooklyn Bridge. The latter broke all previous limitations on how tall man-made objects could be and these engineering marvels radically altered the 19th-century urban environment and the daily lives of people. Arguments arose that the values of the artist and those of society were not merely different, but that Society was antithetical to Progress, the philosopher Schopenhauer called into question the previous optimism, and his ideas had an important influence on later thinkers, including Nietzsche. Darwins theory of evolution by natural selection undermined religious certainty and the idea of human uniqueness, in particular, the notion that human beings were driven by the same impulses as lower animals proved to be difficult to reconcile with the idea of an ennobling spirituality. Karl Marx argued that there were fundamental contradictions within the capitalist system, historians, and writers in different disciplines, have suggested various dates as starting points for modernism. Everdell also thinks modernism in painting began in 1885–86 with Seurats Divisionism, the poet Baudelaires Les Fleurs du mal, and Flauberts novel Madame Bovary were both published in 1857. In the arts and letters, two important approaches developed separately in France, the first was Impressionism, a school of painting that initially focused on work done, not in studios, but outdoors. Impressionist paintings demonstrated that human beings do not see objects, the school gathered adherents despite internal divisions among its leading practitioners, and became increasingly influential. A significant event of 1863 was the Salon des Refusés, created by Emperor Napoleon III to display all of the paintings rejected by the Paris Salon. While most were in standard styles, but by artists, the work of Manet attracted tremendous attention
23.
The Mondriaan House
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The Mondriaan House is a museum in Amersfoort, the Netherlands, in the house where Piet Mondriaan was born in 1872. The museum lies in the centre of Amersfoort. The building of the Christian primary school, where the father of Mondriaan was headmaster, has also incorporated in the museum building. In 1994, the house and the school were opened as a library, since 2001 the Mondriaan House has been the only museum for constructive and concrete art in the Netherlands
24.
Winterswijk
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Winterswijk is a municipality and a town in the eastern Netherlands. It has a population of 28,932 and is situated in the Achterhoek and it was also known as Winethereswick, Winriswic or Wenterswic, the Anglo Saxon wich or wic means the living place of a certain person. The person would likely have been called Wenether, Winitar or Winter, founded around 1000 AD it remained an isolated farming community until 1830 when the road from Borken to Zutphen via Winterswijk and Groenlo was built. Around 1840 many emigrated to America — Michigan in particular, after 1870 the town became a centre for textiles, such as spinning and weaving and indeed the Tricot fabriek employed a large proportion of the local population in its heyday. In 1878 the railway line to Zutphen was built primarily for the textile industry, some of the families such as the Willinks have lived there since 1284. 31 March,1945 was the day for Winterswijk during World War II. Before the city was liberated, there was a battle on the 30th of March in one of the townships called Woold. The 53rd Welsh Division and the 3rd British Infantry Division, were moving from Bocholt via Aalten to Winterswijk, the tank battle resulted in sixteen German and nine British soldiers losing their lives. On 31 March,1945 around nine oclock in the allied forces had a struggle just over five km south of Winterswijk. On 31 March the first allied troops reached the Slingestream near Winterswijk. 31 March is marked as the day to remember the liberation of Winterswijk, despite the fact that in the late afternoon of 31 March parts of Miste. After the liberation of Winterswijk they founded a Rest-Centre for British soldiers in the Sociëteit de Eendracht, where the British soldiers, the British front was moving in April 1945, in the northwest of Germany. John H. Winterswijk Winterswijk West Media related to Winterswijk at Wikimedia Commons Official website
25.
Netherlands
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The Netherlands, also informally known as Holland is the main constituent country of the Kingdom of the Netherlands. It is a densely populated country located in Western Europe with three territories in the Caribbean. The European part of the Netherlands borders Germany to the east, Belgium to the south, and the North Sea to the northwest, sharing borders with Belgium, the United Kingdom. The three largest cities in the Netherlands are Amsterdam, Rotterdam and The Hague, Amsterdam is the countrys capital, while The Hague holds the Dutch seat of parliament and government. The port of Rotterdam is the worlds largest port outside East-Asia, the name Holland is used informally to refer to the whole of the country of the Netherlands. Netherlands literally means lower countries, influenced by its low land and flat geography, most of the areas below sea level are artificial. Since the late 16th century, large areas have been reclaimed from the sea and lakes, with a population density of 412 people per km2 –507 if water is excluded – the Netherlands is classified as a very densely populated country. Only Bangladesh, South Korea, and Taiwan have both a population and higher population density. Nevertheless, the Netherlands is the worlds second-largest exporter of food and agricultural products and this is partly due to the fertility of the soil and the mild climate. In 2001, it became the worlds first country to legalise same-sex marriage, the Netherlands is a founding member of the EU, Eurozone, G-10, NATO, OECD and WTO, as well as being a part of the Schengen Area and the trilateral Benelux Union. The first four are situated in The Hague, as is the EUs criminal intelligence agency Europol and this has led to the city being dubbed the worlds legal capital. The country also ranks second highest in the worlds 2016 Press Freedom Index, the Netherlands has a market-based mixed economy, ranking 17th of 177 countries according to the Index of Economic Freedom. It had the thirteenth-highest per capita income in the world in 2013 according to the International Monetary Fund, in 2013, the United Nations World Happiness Report ranked the Netherlands as the seventh-happiest country in the world, reflecting its high quality of life. The Netherlands also ranks joint second highest in the Inequality-adjusted Human Development Index, the region called Low Countries and the country of the Netherlands have the same toponymy. Place names with Neder, Nieder, Nether and Nedre and Bas or Inferior are in use in all over Europe. They are sometimes used in a relation to a higher ground that consecutively is indicated as Upper, Boven, Oben. In the case of the Low Countries / the Netherlands the geographical location of the region has been more or less downstream. The geographical location of the region, however, changed over time tremendously
26.
The Hague
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The Hague is a city on the western coast of the Netherlands, and the capital city of the province of South Holland. With a population of 520,704 inhabitants and more than one million including the suburbs, it is the third-largest city of the Netherlands. The Rotterdam The Hague Metropolitan Area, with a population of approximately 2.7 million, is the 12th-largest in the European Union and the most populous in the country. Located in the west of the Netherlands, The Hague is in the centre of the Haaglanden conurbation and lies at the southwest corner of the larger Randstad conurbation. The Hague is the seat of the Dutch government, parliament, the Supreme Court, and the Council of State, but the city is not the capital of the Netherlands, which constitutionally is Amsterdam. King Willem-Alexander of the Netherlands plans to live at Huis ten Bosch and works at Noordeinde Palace in The Hague, the Hague is also home to the world headquarters of Royal Dutch Shell and numerous other major Dutch companies. The Hague originated around 1230, when Count Floris IV of Holland purchased land alongside a pond, in 1248, his son and successor William II, King of the Romans, decided to extend the residence to a palace, which would later be called the Binnenhof. He died in 1256 before this palace was completed but parts of it were finished by his son Floris V, of which the Ridderzaal and it is still used for political events, such as the annual speech from the throne by the Dutch monarch. From the 13th century onwards, the counts of Holland used The Hague as their administrative centre, the village that originated around the Binnenhof was first mentioned as Haga in a charter dating from 1242. In the 15th century, the smarter des Graven hage came into use, literally The Counts Wood, with connotations like The Counts Hedge, s-Gravenhage was officially used for the city from the 17th century onwards. Today, this name is used in some official documents like birth. The city itself uses Den Haag in all its communication and their seat was located in The Hague. At the beginning of the Eighty Years War, the absence of city walls proved disastrous, in 1575, the States of Holland even considered demolishing the city but this proposal was abandoned, after mediation by William of Orange. From 1588, The Hague also became the seat of the government of the Dutch Republic, in order for the administration to maintain control over city matters, The Hague never received official city status, although it did have many of the privileges normally granted only to cities. In modern administrative law, city rights have no place anymore, only in 1806, when the Kingdom of Holland was a puppet state of the First French Empire, was the settlement granted city rights by Louis Bonaparte. After the Napoleonic Wars, modern-day Belgium and the Netherlands were combined in the United Kingdom of the Netherlands to form a buffer against France, as a compromise, Brussels and Amsterdam alternated as capital every two years, with the government remaining in The Hague. After the separation of Belgium in 1830, Amsterdam remained the capital of the Netherlands, when the government started to play a more prominent role in Dutch society after 1850, The Hague quickly expanded. The growing city annexed the rural municipality of Loosduinen partly in 1903, the city sustained heavy damage during World War II
27.
Willem Maris
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Willem Maris was a Dutch landscape painter of the Hague School. Willem was the third in a family of five children and his two brothers Jacob and Matthijs Maris preceded him as painters. In literature he is characterized as a self-taught man, and Maris described his early study years as follows. Even before I was twelve I would sit in the meadow and watch the cows before, in the summer I always studied outdoors, and in the winter in the stable. Maris also received advice from the cattle painter Pieter Stortenbeker, who gave him work to copy, in 1862, Maris made his debut with Cows on the Heath, which may have been painted in Oosterbeek, which he visited for the first time that year. It was in Oosterbeek that he met Gerard Bilders and Anton Mauve, Maris would write about his legendary meeting with Mauve, a couple of days afterwards I was sitting somewhere and painting-when one of these braggarts came up behind me. Well, hey, when young, you dont think thats very nice. And suddenly the guy throws his arms around me and roars, I sit here all day long plodding away with a pencil -scratching and they would remain good friends for the rest of their lives. In 1863, the Mauve family moved and set a studio where all the three brothers could work, as his brothers had done before him, Willem also took a trip along the Rhine. Later he shared a studio with Bernard Blommers, and Matthijs Maris, in the Mauritshuis, Willem copied the works of Paulus Potter, a seventeenth-century cattle painter who also inspired Gerard Bilders, Jan Hendrik Weissenbruch and the Barbizon painters. Willems painting career progressed regularly and he maintained a steady production and his paintings and watercolors are best known for his emphasis on light. Maris often cited motto was, I dont paint cows, and his early work in particular often contained a cool, cloudy atmosphere. Someone wrote, In those days, the painter had a pronounced preference for shrouds of mist. On several occasions he broke off his study trips as soon as the sun. Three major phases can be distinguished in his work, the first works were characterized by an exact reproduction of the surroundings. Maris was still finding his way in the portrayal of cattle. In the second phase he had mastered this and his use of color became more definite. The meadows and trees are painted in gradations of saturated shades of green, around 1880, he began to use broader strokes, combining this with impasto
28.
Hague School
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The Hague School is a group of artists who lived and worked in The Hague between 1860 and 1890. Their work was influenced by the realist painters of the French Barbizon school. The painters of the Hague school generally made use of relatively somber colors, after the great periods of Dutch art in the Golden Age of the 17th century, there were economic and political problems which diminished activity in art. The fine arts in the Netherlands enjoyed a revival around 1830, the style was an imitation of the great 17th-century artists. The most widely accepted paintings of this period were landscapes and paintings which reflected national history, Andreas Schelfhout was a painter of landscapes, especially winter scenes, but also woodlands and the dunes between The Hague and Scheveningen. His best known pupils included Wijnand Nuyen, Johan Barthold Jongkind, Wijnand Nuyen was one of the best of the romantic artists of the time and he had a great influence on Weissenbruch and Johannes Bosboom. Art training at that time was usually in the form of drawing schools, many young artists who later became members of the Hague School were frustrated by this and scattered to various places to receive the training they desired. Gerard Bilders left the Hague Academy of Drawing and completed training with the Swiss animal painter, paul Gabriël went to Kleve, just over the German border, to study with the landscape painter Barend Cornelis Koekkoek. Jozef Israëls, unsatisfied with the academies at Groningen and Amsterdam, Jacob Maris left the Hague Academy for the corresponding institution in Antwerp and from there he went to study with Ernest Hébert in Paris. His brother Matthijs Maris studied with Nicaise de Keyser in Antwerp, Hendrik Willem Mesdag left Groningen to perfect his skills in Brussels under Willem Roelofs. He also received instructions from Lawrence Alma-Tadema, who would later move to England. In the 1830s artists like Théodore Rousseau, Jean-François Millet, Charles-François Daubigny, and Jean-Baptiste-Camille Corot found their way to Barbizon, the emphasis of their work here was on painting nature as they saw it - Barbizon was not a school but a community of artists. This gave rise to the well known Barbizon school and their example was followed in the 1850s by a few Dutch painters who gathered in Oosterbeek in order to work in the surrounding countryside. These painters had been influenced by the artists of the Barbizon School, some of these artists, such as Jozef Israëls, Jacob Maris and Jan Hendrik Weissenbruch visited Barbizon to paint there. In those times it came to the contact and even to study travelling from Düsseldorf to the Netherlands, later, in the Düsseldorf art association an exhibition took place on the subject Fishing place of Scheveningen. It concerned such names like Carl Hilgers, Hermann Mevius, Carl Adloff, the call of the Düsseldorf painters school attracetd artists of the Hague school, such Johannes Bosboom and J. W. Bilders. At the beginning of his career Jozef Israëls proceeded to a trip to Düsseldorf. Also Julius van de Sande Bakhuyzen and Philip Sadée came to Düsseldorf, the Düsseldorf academy was famous as a training centre for her scenery and histories painting
29.
Protestantism
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Protestantism is a form of Christianity which originated with the Reformation, a movement against what its followers considered to be errors in the Roman Catholic Church. It is one of the three divisions of Christendom, together with Roman Catholicism and Orthodoxy. The term derives from the letter of protestation from German Lutheran princes in 1529 against an edict of the Diet of Speyer condemning the teachings of Martin Luther as heretical. Although there were earlier breaks from or attempts to reform the Roman Catholic Church—notably by Peter Waldo, John Wycliffe, Protestants reject the notion of papal supremacy and deny the Roman Catholic doctrine of transubstantiation, but disagree among themselves regarding the real presence of Christ in the Eucharist. The Five solae summarize the reformers basic differences in theological beliefs, in the 16th century, Lutheranism spread from Germany into Denmark, Norway, Sweden, Finland, the Baltic states, and Iceland. Reformed churches were founded in Germany, Hungary, the Netherlands, Scotland, Switzerland and France by such reformers as John Calvin, Huldrych Zwingli, the political separation of the Church of England from Rome under King Henry VIII brought England and Wales into this broad Reformation movement. Protestants developed their own culture, which made major contributions in education, the humanities and sciences, the political and social order, the economy and the arts, some Protestant denominations do have a worldwide scope and distribution of membership, while others are confined to a single country. A majority of Protestants are members of a handful of families, Adventism, Anglicanism, Baptist churches, Reformed churches, Lutheranism, Methodism. Nondenominational, evangelical, charismatic, independent and other churches are on the rise, and constitute a significant part of Protestant Christianity. Six princes of the Holy Roman Empire and rulers of fourteen Imperial Free Cities, the edict reversed concessions made to the Lutherans with the approval of Holy Roman Emperor Charles V three years earlier. During the Reformation, the term was used outside of the German politics. The word evangelical, which refers to the gospel, was more widely used for those involved in the religious movement. Nowadays, this word is still preferred among some of the historical Protestant denominations in the Lutheran and Calvinist traditions in Europe, above all the term is used by Protestant bodies in the German-speaking area, such as the EKD. In continental Europe, an Evangelical is either a Lutheran or a Calvinist, the German word evangelisch means Protestant, and is different from the German evangelikal, which refers to churches shaped by Evangelicalism. The English word evangelical usually refers to Evangelical Protestant churches, and it traces its roots back to the Puritans in England, where Evangelicalism originated, and then was brought to the United States. Protestantism as a term is now used in contradistinction to the other major Christian traditions, i. e. Roman Catholicism. Initially, Protestant became a term to mean any adherent to the Reformation movement in Germany and was taken up by Lutherans. Even though Martin Luther himself insisted on Christian or Evangelical as the only acceptable names for individuals who professed Christ, French and Swiss Protestants preferred the word reformed, which became a popular, neutral and alternative name for Calvinists
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Amsterdam
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Amsterdam is the capital and most populous municipality of the Kingdom of the Netherlands. Its status as the capital is mandated by the Constitution of the Netherlands, although it is not the seat of the government, which is The Hague. Amsterdam has a population of 851,373 within the city proper,1,351,587 in the urban area, the city is located in the province of North Holland in the west of the country. The metropolitan area comprises much of the part of the Randstad, one of the larger conurbations in Europe. Amsterdams name derives from Amstelredamme, indicative of the citys origin around a dam in the river Amstel, during that time, the city was the leading centre for finance and diamonds. In the 19th and 20th centuries the city expanded, and many new neighborhoods and suburbs were planned, the 17th-century canals of Amsterdam and the 19–20th century Defence Line of Amsterdam are on the UNESCO World Heritage List. As the commercial capital of the Netherlands and one of the top financial centres in Europe, Amsterdam is considered a world city by the Globalization. The city is also the capital of the Netherlands. Many large Dutch institutions have their headquarters there, and seven of the worlds 500 largest companies, including Philips and ING, are based in the city. In 2012, Amsterdam was ranked the second best city to live in by the Economist Intelligence Unit and 12th globally on quality of living for environment, the city was ranked 3rd in innovation by Australian innovation agency 2thinknow in their Innovation Cities Index 2009. The Amsterdam seaport to this day remains the second in the country, famous Amsterdam residents include the diarist Anne Frank, artists Rembrandt van Rijn and Vincent van Gogh, and philosopher Baruch Spinoza. The Amsterdam Stock Exchange, the oldest stock exchange in the world, is located in the city center. After the floods of 1170 and 1173, locals near the river Amstel built a bridge over the river, the earliest recorded use of that name is in a document dated October 27,1275, which exempted inhabitants of the village from paying bridge tolls to Count Floris V. This allowed the inhabitants of the village of Aemstelredamme to travel freely through the County of Holland, paying no tolls at bridges, locks, the certificate describes the inhabitants as homines manentes apud Amestelledamme. By 1327, the name had developed into Aemsterdam, Amsterdam is much younger than Dutch cities such as Nijmegen, Rotterdam, and Utrecht. In October 2008, historical geographer Chris de Bont suggested that the land around Amsterdam was being reclaimed as early as the late 10th century. This does not necessarily mean there was already a settlement then, since reclamation of land may not have been for farming—it may have been for peat. Amsterdam was granted city rights in either 1300 or 1306, from the 14th century on, Amsterdam flourished, largely from trade with the Hanseatic League
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Education in the Netherlands
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Education in the Netherlands is characterized by division, education is oriented toward the needs and background of the pupil. Education is divided over schools for different age groups, some of which are divided in streams for different educational levels, Schools are furthermore divided in public, special, and general-special schools, although there are also a few private schools. The Dutch grading scale runs from 1 to 10, educational policy is coordinated by the Dutch Ministry of Education, Culture and Science with municipal governments. Compulsory education in the Netherlands starts at the age of five, although in practice, from the age of sixteen there is a partial compulsory education, meaning a pupil must attend some form of education for at least two days a week. Compulsory education ends for pupils aged eighteen and up or when they get a diploma on the VWO, public, special, and general-special schools are government-financed, receiving equal financial support from the government if certain criteria are met. Although they are free of charge, these schools may ask for a parental contribution. Private schools rely on their own funds, but they are uncommon in the Netherlands. Public schools are controlled by local governments, special schools are controlled by a school board and are typically based on a particular religion, those that assume equality between religions are known as general-special schools. These differences are present in all levels of education, as a result, there can be Catholic, Protestant, Jewish and Muslim elementary schools, high schools, and universities. A special school can reject applications of pupils whose parents or guardians disagree with the educational philosophy. In practice, there is difference between special schools and public schools, except in traditionally religious areas of the Dutch Bible Belt. All school types are under the jurisdiction of a government body called Inspectie van het Onderwijs that can demand a school to change its educational policy and quality at the risk of closure. In elementary and high schools, pupils are assessed annually by a team of teachers who determine whether they advanced enough to move on to the next grade. As a result, retaking a year is uncommon, but it more often in elementary schools than in high schools because there are fewer negative consequences at a younger age. Gifted children are granted the opportunity to skip an entire year. Between the ages of four to twelve, children attend elementary school and this school has eight grades, called groep 1 through groep 8. School attendance is not compulsory until group 2, but almost all children commence school at age four, groups 1 and 2 used to be held in a separate institution akin to kindergarten, until it was merged with elementary schools in 1985. From group 3 on, children learn how to read, write, most schools teach English in groups 7 and 8, but some start as early as group 4
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Realism (arts)
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Realism in the arts is the attempt to represent subject matter truthfully, without artificiality and avoiding artistic conventions, implausible, exotic and supernatural elements. Realism has been prevalent in the arts at many periods, and is in part a matter of technique and training. In the visual arts, illusionistic realism is the depiction of lifeforms, perspective. Realist works of art may emphasize the mundane, ugly or sordid, such as works of realism, regionalism. There have been various movements in the arts, such as the opera style of verismo, literary realism, theatrical realism. The realism art movement in painting began in France in the 1850s, the realist painters rejected Romanticism, which had come to dominate French literature and art, with roots in the late 18th century. Realism is the precise, detailed and accurate representation in art of the appearance of scenes. Realism in this sense is also called naturalism, mimesis or illusionism, realistic art was created in many periods, and it is in large part a matter of technique and training, and the avoidance of stylization. It becomes especially marked in European painting in the Early Netherlandish painting of Jan van Eyck, however such realism is often used to depict, for example, angels with wings, which were not things the artists had ever seen in real life. It is the choice and treatment of matter that defines Realism as a movement in painting. The development of increasingly accurate representation of the appearances of things has a long history in art. It includes elements such as the depiction of the anatomy of humans and animals, of perspective and effects of distance. Ancient Greek art is recognised as having made great progress in the representation of anatomy. Pliny the Elders famous story of birds pecking at grapes painted by Zeuxis in the 5th century BC may well be a legend, roman portraiture, when not under too much Greek influence, shows a greater commitment to a truthful depiction of its subjects. The art of Late Antiquity famously rejected illusionism for expressive force, scientific methods of representing perspective were developed in Italy and gradually spread across Europe, and accuracy in anatomy rediscovered under the influence of classical art. As in classical times, idealism remained the norm, intriguingly, having led the development of illusionic painting, still life was to be equally significant in its abandonment in Cubism. The depiction of ordinary, everyday subjects in art also has a history, though it was often squeezed into the edges of compositions. However these objects are at least largely there because they carry layers of complex significance, pieter Bruegel the Elder pioneered large panoramic scenes of peasant life
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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
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Landscape painting
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In other works, landscape backgrounds for figures can still form an important part of the work. Sky is almost always included in the view, and weather is often an element of the composition, detailed landscapes as a distinct subject are not found in all artistic traditions, and develop when there is already a sophisticated tradition of representing other subjects. The two main traditions spring from Western painting and Chinese art, going well over a thousand years in both cases. Landscape views in art may be imaginary, or copied from reality with varying degrees of accuracy. If the primary purpose of a picture is to depict an actual, specific place, especially including buildings prominently, within a few decades it was used to describe vistas in poetry, and eventually as a term for real views. However the cognate term landscaef or landskipe for a patch of land had existed in Old English. The earliest pure landscapes with no figures are frescos from Minoan Greece of around 1500 BCE. The frescos from the Tomb of Nebamun, now in the British Museum, are a famous example. These were frequently used, as in the illustrated, to bridge the gap between a foreground scene with figures and a distant panoramic vista, a persistent problem for landscape artists. The Chinese style generally showed only a distant view, or used dead ground or mist to avoid that difficulty, aesthetic theories in both regions gave the highest status to the works seen to require the most imagination from the artist. They were often also poets whose lines and images illustrated each other, a revival in interest in nature initially mainly manifested itself in depictions of small gardens such as the Hortus Conclusus or those in millefleur tapestries. The frescos of figures at work or play in front of a background of trees in the Palace of the Popes. Several frescos of gardens have survived from Roman houses like the Villa of Livia, a particular advance is shown in the less well-known Turin-Milan Hours, now largely destroyed by fire, whose developments were reflected in Early Netherlandish painting for the rest of the century. Landscape backgrounds for various types of painting became prominent and skilful during the 15th century. The Italian development of a system of graphical perspective was now known all over Europe. Indeed, certain styles were so popular that they became formulas that could be copied again and again, after the publication of the Small Landscapes, landscape artists in the Low Countries either continued with the world landscape or followed the new mode presented by the Small Landscapes. The popularity of landscape scenes can be seen in the success of the painter Frans Post. Salvator Rosa gave picturesque excitement to his landscapes by showing wilder Southern Italian country, there are different styles and periods, and subgenres of marine and animal painting, as well as a distinct style of Italianate landscape
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Pastoral
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A pastoral lifestyle is that of shepherds herding livestock around open areas of land according to seasons and the changing availability of water and pasture. It lends its name to a genre of literature, art, a pastoral is a work of this genre, also known as bucolic, from the Greek βουκολικόν, from βουκόλος, meaning a cowherd. Pastoral is a mode of literature in which the author employs various techniques to place the life into a simple one. Thus, pastoral as a mode occurs in many types of literature as well as genres, terry Gifford, a prominent literary theorist, defines pastoral in three ways in his critical book Pastoral. The first way emphasizes the historical perspective of the pastoral in which authors recognize and discuss life in the country. This is summed up by Leo Marx with the phrase No shepherd, the second type of the pastoral is literature that describes the country with an implicit or explicit contrast to the urban. The third type of pastoral depicts the life with derogative classifications. Hesiods Works and Days presents a golden age when people lived together in harmony with nature and this Golden Age shows that even before Alexandria, ancient Greeks had sentiments of an ideal pastoral life that they had already lost. This is the first example of literature that has pastoral sentiments, ovids Metamorphoses is much like the Works and Days with the description of ages but with more ages to discuss and less emphasis on the gods and their punishments. In this artificially constructed world, nature acts as the main punisher, another example of this perfect relationship between man and nature is evident in the encounter of a shepherd and a goatherd who meet in the pastures in Theocritus poem Idylls 1. Traditionally, pastoral refers to the lives of herdsmen in a romanticized, exaggerated, the pastoral life is usually characterized as being closer to the Golden age than the rest of human life. The setting is a Locus Amoenus, or a place in nature. An example of the use of the genre is the poem by the 15th-century Scottish makar Robert Henryson Robene and Makyne which also contains the conflicted emotions often present in the genre. There will we sit upon the rocks And see the shepherds feed their flocks, By shallow rivers, the Passionate Shepherd to His Love exhibits the concept of Giffords second definition of pastoral. The speaker of the poem, who is the titled shepherd and this can be seen in the listed items, lined slippers, purest gold, silver dishes, and ivory table. The speaker takes on a point of view with his love. Pastoral shepherds and maidens usually have Greek names like Corydon or Philomela and this makes them available for embodying perpetual erotic fantasies. The shepherds spend their time chasing pretty girls — or, at least in the Greek and Roman versions, Pastoral literature continued after Hesiod with the poetry of the Hellenistic Greek Theocritus, several of whose Idylls are set in the countryside and involve dialogues between herdsmen
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Windmill
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A windmill is a mill that converts the energy of wind into rotational energy by means of vanes called sails or blades. Centuries ago, windmills usually were used to mill grain, pump water, thus they often were gristmills, windpumps, or both. The majority of modern windmills take the form of wind turbines used to generate electricity, the windwheel of the Greek engineer Heron of Alexandria in the first century is the earliest known instance of using a wind-driven wheel to power a machine. Another early example of a wheel was the prayer wheel. It has been claimed that the Babylonian emperor Hammurabi planned to use wind power for his ambitious project in the seventeenth century BCE. The first practical windmills had sails that rotated in a horizontal plane, according to Ahmad Y. al-Hassan, these panemone windmills were invented in eastern Persia as recorded by the Persian geographer Estakhri in the ninth century. The authenticity of an anecdote of a windmill involving the second caliph Umar is questioned on the grounds that it appears in a tenth-century document. Made of six to 12 sails covered in reed matting or cloth material, these windmills were used to grind grain or draw up water, Windmills were in widespread use across the Middle East and Central Asia, and later spread to China and India from there. A similar type of windmill with rectangular blades, used for irrigation, can also be found in thirteenth-century China. Horizontal windmills were built, in numbers, in Europe during the 18th and nineteenth centuries, for example Fowlers Mill at Battersea in London. Due to a lack of evidence, debate occurs among historians as to whether or not Middle Eastern horizontal windmills triggered the development of European windmills. In northwestern Europe, the horizontal-axis or vertical windmill is believed to date from the last quarter of the century in the triangle of northern France, eastern England. The earliest certain reference to a windmill in Europe dates from 1185, a number of earlier, but less certainly dated, twelfth-century European sources referring to windmills have also been found. These earliest mills were used to grind cereals, the evidence at present is that the earliest type of European windmill was the post mill, so named because of the large upright post on which the mills main structure is balanced. The body contains all the milling machinery, the first post mills were of the sunken type, where the post was buried in an earth mound to support it. Later, a wooden support was developed called the trestle and this was often covered over or surrounded by a roundhouse to protect the trestle from the weather and to provide storage space. This type of windmill was the most common in Europe until the nineteenth century, in a hollow-post mill, the post on which the body is mounted is hollowed out, to accommodate the drive shaft. This makes it possible to drive machinery below or outside the body still being able to rotate the body into the wind
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River
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A river is a natural flowing watercourse, usually freshwater, flowing towards an ocean, sea, lake or another river. In some cases a river flows into the ground and becomes dry at the end of its course without reaching another body of water, small rivers can be referred to using names such as stream, creek, brook, rivulet, and rill. There are no official definitions for the term river as applied to geographic features. Many names for small rivers are specific to geographic location, examples are run in parts of the United States, burn in Scotland and northeast England. Sometimes a river is defined as being larger than a creek, but not always, Rivers are part of the hydrological cycle. Potamology is the study of rivers while limnology is the study of inland waters in general. Extraterrestrial rivers of liquid hydrocarbons have recently found on Titan. Channels may indicate past rivers on other planets, specifically outflow channels on Mars and rivers are theorised to exist on planets, a river begins at a source, follows a path called a course, and ends at a mouth or mouths. The water in a river is confined to a channel. In larger rivers there is also a wider floodplain shaped by flood-waters over-topping the channel. Floodplains may be wide in relation to the size of the river channel. This distinction between river channel and floodplain can be blurred, especially in areas where the floodplain of a river channel can become greatly developed by housing. Rivers can flow down mountains, through valleys or along plains, the term upriver refers to the direction towards the source of the river, i. e. against the direction of flow. Likewise, the term describes the direction towards the mouth of the river. The term left bank refers to the bank in the direction of flow. The river channel typically contains a stream of water, but some rivers flow as several interconnecting streams of water. Extensive braided rivers are now found in only a few regions worldwide and they also occur on peneplains and some of the larger river deltas. Anastamosing rivers are similar to braided rivers and are quite rare
38.
Pointillism
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Pointillism /ˈpɔɪntᵻlɪzəm/ is a technique of painting in which small, distinct dots of color are applied in patterns to form an image. Georges Seurat and Paul Signac developed the technique in 1886, branching from Impressionism, the term Pointillism was coined by art critics in the late 1880s to ridicule the works of these artists, and is now used without its earlier mocking connotation. The movement Seurat began with this technique is known as Neo-Impressionism, the Divisionists, too, used a similar technique of patterns to form images, though with larger cube-like brushstrokes. The technique relies on the ability of the eye and mind of the viewer to blend the color spots into a range of tones. It is related to Divisionism, a technical variant of the method. Divisionism is concerned with theory, whereas pointillism is more focused on the specific style of brushwork used to apply the paint. It is a technique with few serious practitioners today, and is seen in the works of Seurat, Signac. However, see also Andy Warhols early works, and Pop Art, the practice of Pointillism is in sharp contrast to the traditional methods of blending pigments on a palette. Pointillism is analogous to the four-color CMYK printing process used by some printers and large presses that place dots of Cyan, Magenta, Yellow. Televisions and computer monitors use a technique to represent image colors using Red, Green. If red, blue, and green light are mixed, the result is something close to white light, painting is inherently subtractive, but Pointillist colors often seem brighter than typical mixed subtractive colors. This may be partly because subtractive mixing of the pigments is avoided, the painting technique used for Pointillist color mixing is at the expense of the traditional brushwork used to delineate texture. The majority of Pointillism is done in oil paint, anything may be used in its place, but oils are preferred for their thickness and tendency not to run or bleed. Pointillism also refers to a style of 20th-century music composition, different musical notes are made in seclusion, rather than in a linear sequence, giving a sound texture similar to the painting version of Pointillism. This type of music is known as punctualism or klangfarbenmelodie
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Fauvism
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While Fauvism as a style began around 1900 and continued beyond 1910, the movement as such lasted only a few years, 1904–1908, and had three exhibitions. The leaders of the movement were Henri Matisse and André Derain, the paintings of the Fauves were characterized by seemingly wild brush work and strident colors, while their subject matter had a high degree of simplification and abstraction. Fauvism can be classified as a development of Van Goghs Post-Impressionism fused with the pointillism of Seurat and other Neo-Impressionist painters. Other key influences were Paul Cézanne and Paul Gauguin, whose employment of areas of saturated color—notably in paintings from Tahiti—strongly influenced Derains work at Collioure in 1905, in 1888 Gauguin had said to Paul Sérusier, How do you see these trees. So, put in yellow, this shadow, rather blue, paint it with pure ultramarine, Fauvism can also be seen as a mode of Expressionism. Moreaus broad-mindedness, originality and affirmation of the potency of pure color was inspirational for his students. Matisse said of him, He did not set us on the right roads and this source of empathy was taken away with Moreaus death in 1898, but the artists discovered other catalysts for their development. In 1896, Matisse, then an art student, visited the artist John Peter Russell on the island of Belle Île off the coast of Brittany. The next year he returned as Russells student and abandoned his earth-colored palette for bright Impressionist colors, later stating, Russell was my teacher, Russell had been a close friend of Vincent van Gogh and gave Matisse a Van Gogh drawing. In parallel with the discovery of contemporary avant-garde art came an appreciation of pre-Renaissance French art. Another aesthetic influence was African sculpture, of which Vlaminck, Derain, many of the Fauve characteristics first cohered in Matisses painting, Luxe, Calme et Volupté, which he painted in the summer of 1904, whilst in Saint-Tropez with Paul Signac and Henri-Edmond Cross. The artists shared their first exhibition at the 1905 Salon dAutomne, Henri Rousseau was not a Fauve, but his large jungle scene The Hungry Lion Throws Itself on the Antelope was exhibited near Matisses work and may have had an influence on the pejorative used. Vauxcelles comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, the pictures gained considerable condemnation—A pot of paint has been flung in the face of the public, wrote the critic Camille Mauclair —but also some favorable attention. Matisses Neo-Impressionist landscape, Luxe, Calme et Volupté, had already exhibited at the Salon des Indépendants in the spring of 1905. Art history History of painting Neo-Fauvism Visual arts Western painting Gerdts, the Color of Modernism, The American Fauves. Spivey, Virginia, Fauvism, Smarthistory at Khan Academy Whitfield, Fauve Painting from the Permanent Collection at the National Gallery of Art Fauvism, The Wild Beasts of Early Twentieth Century Art Rewald, Sabine. New York, The Metropolitan Museum of Art Gelett Burgess, The Wild Men of Paris, Matisse, Picasso and Les Fauves,1910
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Dallas Museum of Art
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The Dallas Museum of Art is a major art museum located in the Arts District of downtown Dallas, Texas, along Woodall Rodgers Freeway between St. Paul and Harwood. In 1984, the museum moved from its previous location in Fair Park to the Arts District, the new building was designed by Edward Larrabee Barnes, the 2007 winner of the American Institute of Architects Gold Medal. The museum collection is made up of more than 24,000 objects and it is also defined by its dynamic exhibition policy and award-winning educational programs. The Mildred R. and Frederick M. Mayer Library contains over 50,000 volumes available to curators, with 159,000 square feet of exhibition spaces, it is one of the largest art museums in the United States. The museums history began with the establishment in 1903 of the Dallas Art Association, frank Reaugh, a Texas artist, saw in the new library the opportunity to display works of art. This idea was championed by May Dickson Exall, who was the first president of the Dallas Public Library. ”The museum’s collections started growing from this moment on and it soon became necessary to find a new permanent home. The museum, renamed the Dallas Museum of Fine Arts in 1932, relocated to a new art deco facility within Fair Park in 1936 and this new facility was designed by a consortium of Dallas architects in consultation with Paul Cret of Philadelphia. It is still possible to visit this building, in 1943, Jerry Bywaters became the director of the museum, a position he held for the next twenty-one years. Artist, art critic, and teacher, Bywaters gave a sense of identity and community to the museum, under Bywaters tenure, impressionist, abstract, and contemporary masterpieces were acquired and the Texas identity of the museum was emphasized. This identity is represented by works by Alexandre Hogue, Olin Herman Travis, Bywaters himself. In 1963, the Dallas Museum of Fine Arts merged with the Dallas Museum of Contemporary Art, rueppel became the director of the newly merged Museum. In 1965, the museum held an exhibition called The Art of Piet Mondrian and one entitled Sculpture, by the late 1970s, the greatly enlarged permanent collection and the ambitious exhibition program fostered a need for a new museum facility. Under Harry Parker’s direction, the museum was able to once again, to its current venue. The $54 million facility, designed by New York architect Edward Larrabee Barnes, was financed by a 1979 City bond election, the project was galvanized by the slogan “A Great City Deserves a Great Museum, ” and the new building opened in January 1984. The museums collections include more than 24,000 works of art from around the world ranging from ancient to modern times and they are conceived as a celebration of the human power of creation. Objects in the museum’s African collection come from West Africa and Central Africa, the objects date primarily from the 16th to the 20th centuries, although the earliest object is a Nok terracotta bust from Nigeria that dates from somewhere between 200 BC to 200 AD. Some works in the collection were created as symbols of leadership and status, the American art collection includes paintings, sculptures, and works on paper from the United States from the colonial period to World War II, and art from Mexico, and Canada. One of the most important pieces in the collection is The Icebergs by Frederic Edwin Church and this painting had long been referred to as a lost masterpiece
41.
Gemeentemuseum Den Haag
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The Gemeentemuseum Den Haag is an art museum in The Hague in the Netherlands. The museum, built 1931–1935, was designed by the Dutch architect H. P and it is renowned for its large Mondrian collection, the largest in the world. His last work, Victory Boogie-Woogie, is on display here, GEM and Fotomuseum Den Haag are part of the Gemeentemuseum, though not housed in the same building and with a separate entrance fee. The museums collection of art includes works by international artists. The museum has a collection of 19th and 20th century prints, posters and drawings and it comprises works by Dutch artists such as Co Westerik and Jan Toorop, as well as works by Rodolphe Bresdin, Ingres, Paul Klee, Toulouse-Lautrec, Odilon Redon and others. A selection is on view in the print room, for reasons of conservation items are only shown at temporary exhibitions. The music collection includes a collection of musical instruments and a music library
42.
Post-Impressionism
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Post-Impressionism is a predominantly French art movement that developed roughly between 1886 and 1905, from the last Impressionist exhibition to the birth of Fauvism. Post-Impressionism emerged as a reaction against Impressionists concern for the depiction of light. The movement was led by Paul Cézanne, Paul Gauguin, Vincent van Gogh, the term Post-Impressionism was first used by art critic Roger Fry in 1906. Three weeks later, Roger Fry used the term again when he organized the 1910 exhibition, Manet, the Post-Impressionists were dissatisfied with what they felt was the triviality of subject matter and the loss of structure in Impressionist paintings, though they did not agree on the way forward. Georges Seurat and his followers concerned themselves with Pointillism, the use of tiny dots of colour. Paul Cézanne set out to restore a sense of order and structure to painting, to make of Impressionism something solid and durable and he achieved this by reducing objects to their basic shapes while retaining the saturated colours of Impressionism. The Impressionist Camille Pissarro experimented with Neo-Impressionist ideas between the mid-1880s and the early 1890s, Vincent van Gogh used colour and vibrant swirling brush strokes to convey his feelings and his state of mind. Although they often exhibited together, Post-Impressionist artists were not in agreement concerning a cohesive movement, yet, the abstract concerns of harmony and structural arrangement, in the work of all these artists, took precedence over naturalism. Artists such as Seurat adopted a scientific approach to colour. Younger painters during the early 20th century worked in geographically disparate regions and in various categories, such as Fauvism and Cubism. Most of the artists in Frys exhibition were younger than the Impressionists, Fry later explained, For purposes of convenience, it was necessary to give these artists a name, and I chose, as being the vaguest and most non-committal, the name of Post-Impressionism. This merely stated their position in time relatively to the Impressionist movement, john Rewald limited the scope to the years between 1886 and 1892 in his pioneering publication on Post-Impressionism, From Van Gogh to Gauguin. This volume would extend the period covered to other artistic movements derived from Impressionism, though confined to the late 19th, Rewald focused on such outstanding early Post-Impressionists active in France as van Gogh, Gauguin, Seurat, and Redon. Pont-Aven School, implying more than that the artists involved had been working for a while in Pont-Aven or elsewhere in Brittany. Symbolism, a highly welcomed by vanguard critics in 1891. Rewald wrote that the term Post-Impressionism is not a precise one. Convenient, when the term is by definition limited to French visual arts derived from Impressionism since 1886, rewalds approach to historical data was narrative rather than analytic, and beyond this point he believed it would be sufficient to let the sources speak for themselves. Rival terms like Modernism or Symbolism were never as easy to handle, for they covered literature, architecture and other arts as well, Symbolism, however, is considered to be a concept which emerged a century later in France, and implied an individual approach
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Museum of Modern Art
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The Museum of Modern Art is an art museum located in Midtown Manhattan in New York City, on 53rd Street between Fifth and Sixth Avenues. MoMA has been important in developing and collecting modernist art, and is identified as one of the largest and most influential museums of modern art in the world. The MoMA Library includes approximately 300,000 books and exhibition catalogs, over 1,000 periodical titles, the archives holds primary source material related to the history of modern and contemporary art. The idea for The Museum of Modern Art was developed in 1929 primarily by Abby Aldrich Rockefeller and they became known variously as the Ladies, the daring ladies and the adamantine ladies. They rented modest quarters for the new museum in the Heckscher Building at 730 Fifth Avenue in Manhattan, and it opened to the public on November 7,1929, nine days after the Wall Street Crash. Abby had invited A. Conger Goodyear, the president of the board of trustees of the Albright Art Gallery in Buffalo, New York. At the time, it was Americas premier museum devoted exclusively to art. One of Abbys early recruits for the staff was the noted Japanese-American photographer Soichi Sunami. Goodyear enlisted Paul J. Sachs and Frank Crowninshield to join him as founding trustees, Sachs, the associate director and curator of prints and drawings at the Fogg Museum at Harvard University, was referred to in those days as a collector of curators. Goodyear asked him to recommend a director and Sachs suggested Alfred H. Barr, under Barrs guidance, the museums holdings quickly expanded from an initial gift of eight prints and one drawing. Its first successful exhibition was in November 1929, displaying paintings by Van Gogh, Gauguin, Cézanne. Abbys husband was opposed to the museum and refused to release funds for the venture. Nevertheless, he donated the land for the current site of the museum, plus other gifts over time. During that time it initiated many more exhibitions of noted artists, the museum also gained international prominence with the hugely successful and now famous Picasso retrospective of 1939–40, held in conjunction with the Art Institute of Chicago. In its range of presented works, it represented a significant reinterpretation of Picasso for future art scholars, Boy Leading a Horse was briefly contested over ownership with the Solomon R. Guggenheim Museum. In 1941, MoMA hosted the exhibition, Indian Art of the United States. His brother, David Rockefeller, also joined the board of trustees in 1948. David subsequently employed the noted architect Philip Johnson to redesign the garden and name it in honor of his mother
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Spirituality
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Modern spirituality typically includes a belief in a supernatural realm, personal growth, a quest for an ultimate/sacred meaning, religious experience, or an encounter with ones own inner dimension. The meaning of spirituality has developed and expanded over time, the term spirituality originally developed within early Christianity, referring to a life oriented toward the Holy Spirit. The term spirit means animating or vital principle in man and animals and it is derived from the Old French espirit which comes from the Latin word spiritus and is related to spirare. In the Vulgate the Latin word spiritus is used to translate the Greek pneuma, the term spiritual, matters concerning the spirit, is derived from Old French spirituel, which is derived from Latin spiritualis, which comes from spiritus or spirit. The term spirituality is derived from Middle French spiritualité, from Late Latin spiritualitatem, there is no single, widely agreed definition of spirituality. A survey of reviews by McCarroll e. a. dealing with the topic of spirituality gave twenty-seven explicit definitions and this causes some difficulty in trying to study spirituality systematically, i. e. it impedes both understanding and the capacity to communicate findings in a meaningful fashion. To accomplish this, the re-formation is oriented at a mold, which represents the shape, in Judaism the Torah, in Christianity there is Christ, for Buddhism, Buddha. Houtman and Aupers suggest that modern spirituality is a blend of humanistic psychology, mystical and esoteric traditions, Spirituality is sometimes associated with philosophical, social, or political movements such as liberalism, feminist theology, and green politics. Some argue spirituality is intimately linked to resolving mental health issues, managing substance abuse, marital functioning, parenting, words translatable as spirituality first began to arise in the 5th century and only entered common use toward the end of the Middle Ages. In a Biblical context the term means being animated by God, to be driven by the Holy Spirit, in the 11th century this meaning changed. Spirituality began to denote the mental aspect of life, as opposed to the material and sensual aspects of life, in the 13th century spirituality acquired a social and psychological meaning. In the 17th and 18th century a distinction was made higher and lower forms of spirituality, A spiritual man is one who is Christian more abundantly. The word was associated with mysticism and quietism, and acquired a negative meaning. Modern notions of spirituality developed throughout the 19th and 20th century, mixing Christian ideas with westen esoteric traditions and elements of Asian, especially Indian, Spirituality became increasingly disconnected from traditional religious organisations and institutions. Ralph Waldo Emerson was a pioneer of the idea of spirituality as a distinct field, the Transcendentalists emphasised an intuitive, experiential approach of religion. Following Schleiermacher, an individuals intuition of truth was taken as the criterion for truth, in the late 18th and early 19th century, the first translations of Hindu texts appeared, which were also read by the Transcendentalists, and influenced their thinking. A major influence on modern spirituality was the Theosophical Society, which searched for secret teachings in Asian religions and it aims to present Hinduism as a homogenized ideal of Hinduism with Advaita Vedanta as its central doctrine. Due to the colonisation of Asia by the world, since the 19th century an exchange of ideas has been taking place between the western world and Asia, which also influenced western religiosity
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