1.
Le Havre
–
Le Havre is an urban French commune and city in the Seine-Maritime department in the Normandy region of northwestern France. It is situated on the bank of the estuary of the river Seine on the Channel southwest of the Pays de Caux. Modern Le Havre remains deeply influenced by its employment and maritime traditions and its port is the second largest in France, after that of Marseille, for total traffic, and the largest French container port. The name Le Havre means the harbour or the port and its inhabitants are known as Havrais or Havraises. Administratively the commune is located in the Normandy region and, with Dieppe, is one of the two sub-prefectures of the Seine-Maritime department, Le Havre is the capital of the canton and since 1974 has been the see of the diocese of Le Havre. Le Havre is the most populous commune of Upper Normandy, although the population of the greater Le Havre conurbation is smaller than that of Rouen. It is also the second largest subprefecture in France, the city and port were founded by the King Francis I of France in 1517. Economic development in the Early modern period was hampered by wars, conflicts with the English, epidemics. It was from the end of the 18th century that Le Havre started growing, after the 1944 bombings the firm of Auguste Perret began to rebuild the city in concrete. Changes in years 1990–2000 were numerous, the right won the municipal elections and committed the city to the path of reconversion, seeking to develop the service sector and new industries. The Port 2000 project increased the capacity to compete with ports of northern Europe, transformed the southern districts of the city. In 2005 UNESCO inscribed the city of Le Havre as a World Heritage Site. The André Malraux Modern Art Museum is the second of France for the number of impressionist paintings, the city has been awarded two flowers by the National Council of Towns and Villages in Bloom in the Competition of cities and villages in Bloom. Le Havre is a major French city located some 50 kilometres west of Rouen on the shore of the English Channel, numerous roads link to Le Havre with the main access roads being the A29 autoroute from Amiens and the A13 autoroute from Paris linking to the A131 autoroute. Administratively, Le Havre is a commune in the Haute-Normandie region in the west of the department of Seine-Maritime, the urban area of Le Havre corresponds roughly to the territory of the Agglomeration community of Le Havre which includes 17 communes and 250,000 people. It occupies the tip of the natural region of Pays de Caux where it is the largest city. Le Havre is sandwiched between the coast of the Channel from south-west to north-west and the estuary of the Seine to the south, Le Havre belongs to the MLG community Paris Basin which was formed in the Mesozoic period. The Paris Basin consists of sedimentary rocks, the commune of Le Havre consists of two areas separated by a natural cliff edge, one part in the lower part of the town to the south including the harbour, the city centre and the suburbs
Le Havre
–
Le Havre
Le Havre
–
UNESCO World Heritage Site
Le Havre
–
Map of Le Havre: to the south the Seine estuary; to the west the
English Channel.
Le Havre
–
Le Havre under snow
2.
Forcalquier
–
Forcalquier is a commune in the Alpes-de-Haute-Provence department in southeastern France. Forcalquier is located between the Lure and Luberon mountain ranges, about 30 km south of Sisteron and 10 km west of the Durance river, in the Middle Ages it was the capital of Haute-Provence. Furnus Calcarius was the Latin name, from the kilns used in Roman times. At the end of the 11th century, a family of the Counts of Provence created the comté de Forcalquier that remained an independent state through the 12th century. During this time, the town of Forcalquier was the capital of Haute Provence along the Durance, Forcalquier minted its own currency, and its church was elevated to the status of a concathedral. The Counts of Forcalquier grew to a power that could defy the Counts of Provence, rivalry ended in 1195 when Gersende de Sabran, comtesse de Forcalquier, married Alfonso II, the Count of Provence. Their son, Ramon Bérenger IV inherited the two counties, Forcalquier is built around the slopes of a steep conical hill, crowned by an octagonal chapel, Notre Dame de Provence, where the medieval citadel once stood. The citadel was destroyed in 1601, the chapel with its view was built in 1875. It has a carillon that can be heard every Sunday morning during the summer, the oldest part of the town is the area around the Place Saint-Michel with its Renaissance fountain and its narrow side-streets. There many doorways dating to the 12th to 16th centuries can be found, the present commercial and social center of town, the Place du Bourget, is located below the Place St. Michel. The 12th century concathedral Notre Dame de lAssomption with its bell towers stands across from the Place du Bourguet, the Cordeliers Convent was built in the 13th century by Franciscans named cordeliers because of their rope belts. This convent was occupied by monks continuously until the Revolution and it now houses the Université Européenne des Senteurs & Saveurs. The Port de Cordeliers is all that remains of the fortified walls. Monday morning is market day in Forcalquier, the market fills the Place du Bourguet and the adjoining streets. Noteworthy is the Musée Municipal with its prehistoric and Gallo-Roman artifacts, glass works, and faïence pottery from Mane, Apt and Moustiers-Sainte-Marie
Forcalquier
–
A general view of Forcalquier, with the
Luberon Massif in the background
3.
Fauvism
–
While Fauvism as a style began around 1900 and continued beyond 1910, the movement as such lasted only a few years, 1904–1908, and had three exhibitions. The leaders of the movement were Henri Matisse and André Derain, the paintings of the Fauves were characterized by seemingly wild brush work and strident colors, while their subject matter had a high degree of simplification and abstraction. Fauvism can be classified as a development of Van Goghs Post-Impressionism fused with the pointillism of Seurat and other Neo-Impressionist painters. Other key influences were Paul Cézanne and Paul Gauguin, whose employment of areas of saturated color—notably in paintings from Tahiti—strongly influenced Derains work at Collioure in 1905, in 1888 Gauguin had said to Paul Sérusier, How do you see these trees. So, put in yellow, this shadow, rather blue, paint it with pure ultramarine, Fauvism can also be seen as a mode of Expressionism. Moreaus broad-mindedness, originality and affirmation of the potency of pure color was inspirational for his students. Matisse said of him, He did not set us on the right roads and this source of empathy was taken away with Moreaus death in 1898, but the artists discovered other catalysts for their development. In 1896, Matisse, then an art student, visited the artist John Peter Russell on the island of Belle Île off the coast of Brittany. The next year he returned as Russells student and abandoned his earth-colored palette for bright Impressionist colors, later stating, Russell was my teacher, Russell had been a close friend of Vincent van Gogh and gave Matisse a Van Gogh drawing. In parallel with the discovery of contemporary avant-garde art came an appreciation of pre-Renaissance French art. Another aesthetic influence was African sculpture, of which Vlaminck, Derain, many of the Fauve characteristics first cohered in Matisses painting, Luxe, Calme et Volupté, which he painted in the summer of 1904, whilst in Saint-Tropez with Paul Signac and Henri-Edmond Cross. The artists shared their first exhibition at the 1905 Salon dAutomne, Henri Rousseau was not a Fauve, but his large jungle scene The Hungry Lion Throws Itself on the Antelope was exhibited near Matisses work and may have had an influence on the pejorative used. Vauxcelles comment was printed on 17 October 1905 in Gil Blas, a daily newspaper, the pictures gained considerable condemnation—A pot of paint has been flung in the face of the public, wrote the critic Camille Mauclair —but also some favorable attention. Matisses Neo-Impressionist landscape, Luxe, Calme et Volupté, had already exhibited at the Salon des Indépendants in the spring of 1905. Art history History of painting Neo-Fauvism Visual arts Western painting Gerdts, the Color of Modernism, The American Fauves. Spivey, Virginia, Fauvism, Smarthistory at Khan Academy Whitfield, Fauve Painting from the Permanent Collection at the National Gallery of Art Fauvism, The Wild Beasts of Early Twentieth Century Art Rewald, Sabine. New York, The Metropolitan Museum of Art Gelett Burgess, The Wild Men of Paris, Matisse, Picasso and Les Fauves,1910
Fauvism
–
Henri Matisse, Portrait of Madame Matisse (The
Green Stripe), 1906,
Statens Museum for Kunst,
Copenhagen, Denmark
Fauvism
–
Press clipping, Les Fauves: Exhibition at the
Salon d'Automne, in L'Illustration, 4 November 1905
Fauvism
–
Henri Matisse.
Woman with a Hat, 1905.
San Francisco Museum of Modern Art.
Fauvism
–
Henri Matisse,
Luxe, Calme et Volupté, 1904, oil on canvas, 98 x 118.5 cm,
Musée d'Orsay, Paris, France
4.
Impressionism
–
Impressionism originated with a group of Paris-based artists whose independent exhibitions brought them to prominence during the 1870s and 1880s. The Impressionists faced harsh opposition from the art community in France. The development of Impressionism in the arts was soon followed by analogous styles in other media that became known as impressionist music. Radicals in their time, early Impressionists violated the rules of academic painting and they constructed their pictures from freely brushed colours that took precedence over lines and contours, following the example of painters such as Eugène Delacroix and J. M. W. Turner. They also painted scenes of modern life, and often painted outdoors. Previously, still lifes and portraits as well as landscapes were painted in a studio. The Impressionists found that they could capture the momentary and transient effects of sunlight by painting en plein air, the Impressionists, however, developed new techniques specific to the style. The public, at first hostile, gradually came to believe that the Impressionists had captured a fresh and original vision, even if the art critics and art establishment disapproved of the new style. In the middle of the 19th century—a time of change, as Emperor Napoleon III rebuilt Paris, the Académie was the preserver of traditional French painting standards of content and style. Historical subjects, religious themes, and portraits were valued, landscape, the Académie preferred carefully finished images that looked realistic when examined closely. Paintings in this style were made up of brush strokes carefully blended to hide the artists hand in the work. Colour was restrained and often toned down further by the application of a golden varnish, the Académie had an annual, juried art show, the Salon de Paris, and artists whose work was displayed in the show won prizes, garnered commissions, and enhanced their prestige. The standards of the juries represented the values of the Académie, represented by the works of artists as Jean-Léon Gérôme. In the early 1860s, four young painters—Claude Monet, Pierre-Auguste Renoir, Alfred Sisley and they discovered that they shared an interest in painting landscape and contemporary life rather than historical or mythological scenes. A favourite meeting place for the artists was the Café Guerbois on Avenue de Clichy in Paris, where the discussions were led by Édouard Manet. They were soon joined by Camille Pissarro, Paul Cézanne, during the 1860s, the Salon jury routinely rejected about half of the works submitted by Monet and his friends in favour of works by artists faithful to the approved style. In 1863, the Salon jury rejected Manets The Luncheon on the Grass primarily because it depicted a woman with two clothed men at a picnic. While the Salon jury routinely accepted nudes in historical and allegorical paintings, the jurys severely worded rejection of Manets painting appalled his admirers, and the unusually large number of rejected works that year perturbed many French artists
Impressionism
–
Claude Monet,
Haystacks, (sunset), 1890–1891,
Museum of Fine Arts, Boston
Impressionism
–
Pierre-Auguste Renoir, Dance at Le Moulin de la Galette (
Bal du moulin de la Galette),
Musée d'Orsay, 1876
Impressionism
–
Édouard Manet,
The Luncheon on the Grass (Le déjeuner sur l'herbe), 1863
Impressionism
–
Alfred Sisley, View of the Saint-Martin Canal, Paris, 1870,
Musée d'Orsay
5.
Modernism
–
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
Modernism
Modernism
–
Eugène Delacroix 's
Liberty Leading the People, 1830, a
Romantic work of art
Modernism
–
A
Realist portrait of
Otto von Bismarck
Modernism
–
Odilon Redon, Guardian Spirit of the Waters, 1878, charcoal on paper,
The Art Institute of Chicago
6.
Cubism
–
Cubism is an early-20th-century avant-garde art movement that revolutionized European painting and sculpture, and inspired related movements in music, literature and architecture. Cubism has been considered the most influential art movement of the 20th century, the term is broadly used in association with a wide variety of art produced in Paris during the 1910s and extending through the 1920s. The movement was pioneered by Georges Braque and Pablo Picasso, joined by Andre Lhote, Jean Metzinger, Albert Gleizes, Robert Delaunay, Henri Le Fauconnier, Fernand Léger and Juan Gris. A primary influence that led to Cubism was the representation of form in the late works of Paul Cézanne. The impact of Cubism was far-reaching and wide-ranging, Cubism spread rapidly across the globe and in doing so evolved to a greater or lesser extent. In essence, Cubism was the origin of a process that produced diversity. In France, offshoots of Cubism developed, including Orphism, Abstract art, in other countries Futurism, Suprematism, Dada, Constructivism, De Stijl and Art Deco developed in response to Cubism. Other common threads between these movements include the faceting or simplification of geometric forms, and the association of mechanization. Cubism began between 1907 and 1911, Pablo Picassos 1907 painting Les Demoiselles dAvignon has often been considered a proto-Cubist work. Georges Braques 1908 Houses at L’Estaque prompted the critic Louis Vauxcelles to refer to bizarreries cubiques, Gertrude Stein referred to landscapes made by Picasso in 1909, such as Reservoir at Horta de Ebro, as the first Cubist paintings. A second phase, Synthetic Cubism, remained vital until around 1919, english art historian Douglas Cooper proposed another scheme, describing three phases of Cubism in his book, The Cubist Epoch. Douglas Coopers restrictive use of terms to distinguish the work of Braque, Picasso, Gris. Alternative interpretations of Cubism have therefore developed, wider views of Cubism include artists who were later associated with the Salle 41 artists, e. g. John Berger identifies the essence of Cubism with the mechanical diagram. The metaphorical model of Cubism is the diagram, The diagram being a symbolic representation of invisible processes, forces, structures. A diagram need not eschew certain aspects of appearance but these too will be treated as not as imitations or recreations. During the late 19th and early 20th centuries, Europeans were discovering African, Polynesian, Micronesian, artists such as Paul Gauguin, Henri Matisse, and Pablo Picasso were intrigued and inspired by the stark power and simplicity of styles of those foreign cultures. Around 1906, Picasso met Matisse through Gertrude Stein, at a time when artists had recently acquired an interest in primitivism, Iberian sculpture, African art and African tribal masks. Picassos paintings of 1907 have been characterized as Protocubism, as seen in Les Demoiselles dAvignon
Cubism
–
Pablo Picasso, 1910, Girl with a Mandolin (Fanny Tellier), oil on canvas, 100.3 x 73.6 cm,
Museum of Modern Art, New York
Cubism
–
Pablo Picasso,
Les Demoiselles d'Avignon, 1907, considered to be a major step towards the founding of the Cubist movement
Cubism
–
Pablo Picasso, 1909-10, Figure dans un Fauteuil (Seated Nude, Femme nue assise), oil on canvas, 92.1 x 73 cm,
Tate Modern, London
Cubism
–
Paul Cézanne, Quarry Bibémus, 1898-1900,
Museum Folkwang,
Essen,
Germany
7.
Ceramic art
–
Ceramic art is art made from ceramic materials, including clay. It may take forms including art ware, tile, figurines, sculpture, Ceramic art is one of the arts, particularly the visual arts. Of these, it is one of the plastic arts, while some ceramics are considered fine art, some are considered to be decorative, industrial or applied art objects. Ceramics may also be considered artefacts in archaeology, Ceramic art can be made by one person or by a group of people. In a pottery or ceramic factory, a group of people design, manufacture, products from a pottery are sometimes referred to as art pottery. In a one-person pottery studio, ceramists or potters produce studio pottery, the word ceramics comes from the Greek keramikos, meaning pottery, which in turn comes from keramos meaning potters clay. Most traditional ceramic products were made from clay, shaped and subjected to heat, in modern ceramic engineering usage, ceramics is the art and science of making objects from inorganic, non-metallic materials by the action of heat. It excludes glass and mosaic made from glass tesserae, cultures especially noted for ceramics include the Chinese, Cretan, Greek, Persian, Mayan, Japanese, and Korean cultures, as well as the modern Western cultures. Different types of clay, when used with different minerals and firing conditions, are used to produce earthenware, stoneware, porcelain, earthenware is pottery that has not been fired to vitrification and is thus permeable to water. Many types of pottery have been made from it from the earliest times, earthenware is often made from clay, quartz and feldspar. Terracotta, a type of earthenware, is a clay-based unglazed or glazed ceramic and its uses include vessels, water and waste water pipes, bricks, and surface embellishment in building construction. Terracotta has been a medium for ceramic art. Stoneware is a vitreous or semi-vitreous ceramic made primarily from stoneware clay or non-refractory fire clay, stoneware is fired at high temperatures. Vitrified or not, it is nonporous, it may or may not be glazed and it may be vitreous or semi-vitreous. It is usually coloured grey or brownish because of impurities in the used for its manufacture. Porcelain is a material made by heating materials, generally including kaolin, in a kiln to temperatures between 1,200 and 1,400 °C. Porcelain has been described as being completely vitrified, hard, impermeable, white or artificially coloured, translucent and it has been defined as ware with a translucent body containing a minimum of 30% of phosphate derived from animal bone and calculated calcium phosphate. Developed by English potter Josiah Spode, bone china is known for its levels of whiteness and translucency
Ceramic art
–
Etruscan: Diomedes and Polyxena, from the Etruscan amphora of the Pontic group, ca. 540–530 BC. From
Vulci.
Ceramic art
–
Venus of Dolní Věstonice, before 25,000 BCE
Ceramic art
–
Vessel from
Mesopotamia, late
Ubaid period (4,500-4,000 BCE)
Ceramic art
–
Hexagonal Tile, mid 15th century.
Brooklyn Museum.
8.
Textile
–
A textile or cloth is a flexible material consisting of a network of natural or artificial fibres. Yarn is produced by spinning raw fibres of wool, flax, cotton, hemp, Textiles are formed by weaving, knitting, crocheting, knotting, or felting. The words fabric and cloth are used in textile assembly trades as synonyms for textile, however, there are subtle differences in these terms in specialized usage. Textile refers to any material made of interlacing fibres, a fabric is a material made through weaving, knitting, spreading, crocheting, or bonding that may be used in production of further goods. Cloth may be used synonymously with fabric but is often a piece of fabric used for a specific purpose. The word textile is from Latin, from the adjective textilis, meaning woven, from textus, the word cloth derives from the Old English clað, meaning a cloth, woven or felted material to wrap around one, from Proto-Germanic kalithaz. The discovery of dyed flax fibres in a cave in the Republic of Georgia dated to 34,000 BCE suggests textile-like materials were made even in prehistoric times. The production of textiles is a craft whose speed and scale of production has been altered almost beyond recognition by industrialization, however, for the main types of textiles, plain weave, twill, or satin weave, there is little difference between the ancient and modern methods. Textiles have an assortment of uses, the most common of which are for clothing and for such as bags. In the household they are used in carpeting, upholstered furnishings, window shades, towels, coverings for tables, beds, and other flat surfaces, in the workplace they are used in industrial and scientific processes such as filtering. Textiles are used in traditional crafts such as sewing, quilting. Textiles for industrial purposes, and chosen for other than their appearance, are commonly referred to as technical textiles. Technical textiles include textile structures for applications, medical textiles, geotextiles, agrotextiles. In all these applications stringent performance requirements must be met, woven of threads coated with zinc oxide nanowires, laboratory fabric has been shown capable of self-powering nanosystems using vibrations created by everyday actions like wind or body movements. Fashion designers commonly rely on textile designs to set their fashion collections apart from others, armani, the late Gianni Versace, and Emilio Pucci can be easily recognized by their signature print driven designs. Textiles can be made from many materials and these materials come from four main sources, animal, plant, mineral, and synthetic. In the past, all textiles were made from natural fibres, including plant, animal, in the 20th century, these were supplemented by artificial fibres made from petroleum. Textiles are made in various strengths and degrees of durability, from the finest gossamer to the sturdiest canvas, microfibre refers to fibres made of strands thinner than one denier
Textile
–
Sunday textile market on the sidewalks of
Karachi, Pakistan
Textile
–
Simple textile (magnified)
Textile
–
A small fabric shop in
Al-Mukalla, Yemen
Textile
–
Late antique textile,
Egyptian, now in the
Dumbarton Oaks collection
9.
Drawing
–
Drawing is a form of visual art in which a person uses various drawing instruments to mark paper or another two-dimensional medium. A drawing instrument releases small amount of material onto a surface, the most common support for drawing is paper, although other materials, such as cardboard, plastic, leather, canvas, and board, may be used. Temporary drawings may be made on a blackboard or whiteboard or indeed almost anything, the medium has been a popular and fundamental means of public expression throughout human history. It is one of the simplest and most efficient means of communicating visual ideas, the wide availability of drawing instruments makes drawing one of the most common artistic activities. In addition to its artistic forms, drawing is frequently used in commercial illustration, animation, architecture, engineering. A quick, freehand drawing, usually not intended as a work, is sometimes called a sketch. An artist who practices or works in technical drawing may be called a drafter, Drawing is one of the major forms of expression within the visual arts. It is generally concerned with the marking of lines and areas of tone onto paper/other material, traditional drawings were monochrome, or at least had little colour, while modern colored-pencil drawings may approach or cross a boundary between drawing and painting. In Western terminology, drawing is distinct from painting, even though similar media often are employed in both tasks, dry media, normally associated with drawing, such as chalk, may be used in pastel paintings. Drawing may be done with a medium, applied with brushes or pens. Drawing is often exploratory, with emphasis on observation, problem-solving. Drawing is also used in preparation for a painting, further obfuscating their distinction. Drawings created for these purposes are called studies, there are several categories of drawing, including figure drawing, cartooning, doodling, free hand and shading. There are also many drawing methods, such as drawing, stippling, shading, the surrealist method of entopic graphomania. A quick, unrefined drawing may be called a sketch, in fields outside art, technical drawings or plans of buildings, machinery, circuitry and other things are often called drawings even when they have been transferred to another medium by printing. Drawing as a Form of Communication Drawing is one of the oldest forms of human expression and these drawings, known as pictograms, depicted objects and abstract concepts. The sketches and paintings produced in prehistoric times were eventually stylised and simplified, Drawing in the Arts Drawing is used to express ones creativity, and therefore has been prominent in the world of art. Throughout much of history, drawing was regarded as the foundation for artistic practise, initially, artists used and reused wooden tablets for the production of their drawings
Drawing
–
Pen and wash lion by
Rembrandt in the
Louvre
Drawing
–
A person drawing the
Barberini Faun in Munich
Drawing
–
Madame Palmyre with Her Dog, 1897.
Henri de Toulouse-Lautrec
Drawing
–
André Masson. Automatic Drawing. 1924. Ink on paper, 23.5 x 20.6 cm.
Museum of Modern Art, New York
10.
Printmaker
–
Printmaking is the process of making artworks by printing, normally on paper. Printmaking normally covers only the process of creating prints that have an element of originality, except in the case of monotyping, the process is capable of producing multiples of the same piece, which is called a print. Each print produced is not considered a copy but rather is considered an original, a print may be known as an impression. Printmaking is not chosen only for its ability to multiple impressions. Prints are created by transferring ink from a matrix or through a screen to a sheet of paper or other material. Screens made of silk or synthetic fabrics are used for the screenprinting process, other types of matrix substrates and related processes are discussed below. Multiple impressions printed from the matrix form an edition. Prints may also be printed in book form, such as illustrated books or artists books, Printmaking techniques are generally divided into the following basic categories, Relief, where ink is applied to the original surface of the matrix. Relief techniques include woodcut or woodblock as the Asian forms are known, wood engraving. Intaglio, where ink is applied beneath the surface of the matrix. Intaglio techniques include engraving, etching, mezzotint, aquatint, planographic, where the matrix retains its original surface, but is specially prepared and/or inked to allow for the transfer of the image. Planographic techniques include lithography, monotyping, and digital techniques, stencil, where ink or paint is pressed through a prepared screen, including screenprinting and pochoir. Other types of printmaking techniques outside these groups include collagraphy and viscosity printing, collagraphy is a printmaking technique in which textured material is adhered to the printing matrix. This texture is transferred to the paper during the printing process, Contemporary printmaking may include digital printing, photographic mediums, or a combination of digital, photographic, and traditional processes. Many of these techniques can also be combined, especially within the same family, for example, Rembrandts prints are usually referred to as etchings for convenience, but very often include work in engraving and drypoint as well, and sometimes have no etching at all. Woodcut, a type of print, is the earliest printmaking technique. It was probably first developed as a means of printing patterns on cloth, woodcuts of images on paper developed around 1400 in Japan, and slightly later in Europe. These are the two areas where woodcut has been most extensively used purely as a process for making images without text, the artist draws a design on a plank of wood, or on paper which is transferred to the wood
Printmaker
–
Rembrandt,
Self-portrait,
etching, c.1630.
Printmaker
–
Mount Fuji, from the
Thirty-six Views of Mount Fuji, color
woodcut by
Katsushika Hokusai
Printmaker
–
Francisco Goya, There is No One To Help Them,
Disasters of War series,
aquatint c.1810.
Printmaker
–
External video
11.
Illustrator
–
An illustrator is an artist who specializes in enhancing writing or elucidating concepts by providing a visual representation that corresponds to the content of the associated text or idea. The illustration may be intended to clarify complicated concepts or objects that are difficult to describe textually, illustration is the art of making images that work with something and add to it without needing direct attention and without distracting from the thing they illustrate. The other thing is the focus of the attention, and the role is to add personality. A cartoon illustration can add humor to stories or essays, use reference images to create scenes and characters. This can be as simple as looking at an image to inspire artwork, or creating character sketches. Some traditional illustration techniques include watercolor, pen and ink, airbrush art, oil painting, pastels, wood engraving, and linoleum cuts. Traditional illustration seems to have come full circle, from falling out of favor to photography in the early 1990s to being superseded by CGI, universities and art schools offer specific courses in illustration so this has become a new avenue into the profession. Many illustrators are freelance, commissioned by publishers or advertising agencies, most scientific illustrations and technical illustrations are also known as information graphics. Among the information graphics specialists are medical illustrators who illustrate human anatomy, often requiring years of artistic. A particularly popular medium with illustrators of the 1950s and 1960s was casein, the immediacy and durability of these media suited illustrations demands well. The artwork in both types of paint withstood the rigors of travel to clients and printers without damage, digital illustration is the technique of using a computer to produce original artwork. Digital illustrators use a combination of software and image editing software to create computer art. Digital illustration is not merely the manipulation of images with software, computer illustration or digital illustration is the use of digital tools to produce images under the direct manipulation of the artist, usually through a pointing device such as a tablet or a mouse. Computers dramatically changed the industry and today many cartoonists and illustrators create digital illustrations using computers, graphics tablets, software such as Adobe Illustrator or Adobe Photoshop are now widely used by those professionals
Illustrator
–
Jessie Willcox Smith 's 1923 illustration of the characters in
Alice in Wonderland.
Illustrator
–
A watercolor, by
John Simmons, depicting Hermia and Lysander, from A Midsummer Night's Dream (1870).
12.
Scenic design
–
Scenic design is the creation of theatrical, as well as film or television scenery. Scenic designers come from a variety of backgrounds, but in recent years, are mostly trained professionals. Scenic designers design sets and scenery that aim to fully immerse the viewer in the production, a designer looks at the details searching for evidence through research to produce conceptual ideas that’s best toward supporting the content and values with visual elements. The subject of, “How do we generate creative ideas. ”The most consuming part of expanding our horizons toward scenic concepts is more than witnessing creativity. It starts with us opening our mind to the possibilities, to have an attitude toward learning, seeking, and engaging in creativity and to be willing to be adventurous, inquisitive and curious. Whether outside or inside, colorful trees or concerts, star lit skies or the architecture of a great building, discovering what will best clarify and support the story being told. The scenic designer works with the director and other designers to establish a visual concept for the production. All of these required drawing elements can be created from one accurate 3-D CAD model of the set design. Scenic designers are responsible for creating models of the scenery, renderings, paint elevations. Prague, CZ What is Scenography Article illustrating the differences between US and European theatre design practices Special, WhatLinksHere/Julia Anastasopoulos
Scenic design
–
Scenic design, The 2010 Family Series, by Glenn Davis
Scenic design
–
Set design model by Marcel Jambon for an 1895 Paris production of
Giuseppe Verdi 's
Otello.
Scenic design
–
A set designer works on the set with
carpenters.
Scenic design
–
Scenic designer
Robert Edmond Jones (1887-1954) drawing at a waist high table (c. 1920).
13.
Normandy
–
Normandy is one of the regions of France, roughly corresponding to the historical Duchy of Normandy. Administratively, Normandy is divided into five departments, Calvados, Eure, Manche, Orne and it covers 30,627 km², forming roughly 5% of the territory of France. Its population of 3.37 million accounts for around 5% of the population of France, Normans is the name given to the inhabitants of Normandy, and the region is the homeland of the Norman language. The historical region of Normandy comprised the region of Normandy, as well as small areas now part of the départements, or departments of Mayenne. For a century and a following the Norman conquest of England in 1066, Normandy and England were linked by Norman. Archaeological finds, such as paintings, prove that humans were present in the region in prehistoric times. Celts invaded Normandy in successive waves from the 4th to the 3rd century BC, when Julius Caesar invaded Gaul, there were nine different Celtic tribes living in Normandy. The Romanisation of Normandy was achieved by the methods, Roman roads. Classicists have knowledge of many Gallo-Roman villas in Normandy, in the late 3rd century, barbarian raids devastated Normandy. Coastal settlements were raided by Saxon pirates, Christianity also began to enter the area during this period. In 406, Germanic tribes began invading from the east, while the Saxons subjugated the Norman coast, the Roman Emperor withdrew from most of Normandy. As early as 487, the area between the River Somme and the River Loire came under the control of the Frankish lord Clovis, the Vikings started to raid the Seine Valley during the middle of the 9th century. As early as 841, a Viking fleet appeared at the mouth of the Seine, after attacking and destroying monasteries, including one at Jumièges, they took advantage of the power vacuum created by the disintegration of Charlemagnes empire to take northern France. The fiefdom of Normandy was created for the Norwegian Viking leader Hrólfr Ragnvaldsson, Rollo had besieged Paris but in 911 entered vassalage to the king of the West Franks, Charles the Simple, through the Treaty of Saint-Clair-sur-Epte. In exchange for his homage and fealty, Rollo legally gained the territory which he, the name Normandy reflects Rollos Viking origins. The descendants of Rollo and his followers adopted the local Gallo-Romance language and they became the Normans – a Norman-speaking mixture of Saxons and indigenous Franks and Celts. Besides the Norman conquest of England and the subsequent conquests of Wales and Ireland, Norman families, such as that of Tancred of Hauteville, Rainulf Drengot and Guimond de Moulins played important parts in the Norman conquest of southern Italy and Crusades. They also carved out a place for themselves and their descendants in the Crusader states of Asia Minor, the 14th century Norman explorer Jean de Béthencourt established a kingdom in the Canary Islands
Normandy
–
Roman theatre in
Lillebonne
Normandy
Normandy
–
Allied invasion of Normandy,
D-Day, 1944
Normandy
–
A typical northeastern Norman village
14.
Ingres
–
Jean-Auguste-Dominique Ingres was a French Neoclassical painter. A man profoundly respectful of the past, he assumed the role of a guardian of orthodoxy against the ascendant Romantic style represented by his nemesis. His exemplars, he explained, were the great masters which flourished in that century of glorious memory when Raphael set the eternal. I am thus a conservator of good doctrine, and not an innovator, Ingres was born in Montauban, Tarn-et-Garonne, France, the first of seven children of Jean-Marie-Joseph Ingres and his wife Anne Moulet. From his father the young Ingres received early encouragement and instruction in drawing and music, and his first known drawing, the deficiency in his schooling would always remain for him a source of insecurity. In 1791, Joseph Ingres took his son to Toulouse, where the young Jean-Auguste-Dominique was enrolled in the Académie Royale de Peinture, Sculpture et Architecture, there he studied under the sculptor Jean-Pierre Vigan, the landscape painter Jean Briant, and the neoclassical painter Guillaume-Joseph Roques. Roques veneration of Raphael was an influence on the young artist. Ingres won prizes in several disciplines, such as composition, figure and antique and his musical talent was developed under the tutelage of the violinist Lejeune, and from the ages of thirteen to sixteen he played second violin in the Orchestre du Capitole de Toulouse. Ingres followed his masters neoclassical example but revealed, according to David and his trip to Rome, however, was postponed until 1806, when the financially strained government finally appropriated the travel funds. Working in Paris alongside several other students of David in a provided by the state. He found inspiration in the works of Raphael, in Etruscan vase paintings, in 1802 he made his debut at the Salon with Portrait of a Woman. The following year brought a commission, when Ingres was one of five artists selected to paint full-length portraits of Napoleon Bonaparte as First Consul. These were to be distributed to the towns of Liège, Antwerp, Dunkerque, Brussels. In the summer of 1806 Ingres became engaged to Marie-Anne-Julie Forestier, although he had hoped to stay in Paris long enough to witness the opening of that years Salon, in which he was to display several works, he reluctantly left for Italy just days before the opening. Chaussard condemned Ingress style as gothic and asked, How, with so much talent, a line so flawless, the answer is that he wanted to do something singular, something extraordinary. M. Ingress intention is nothing less than to make art regress by four centuries, to carry us back to its infancy, Ingres stylistic eclecticism represented a new tendency in art. As art historian Marjorie Cohn has written, At the time, Artists and critics outdid each other in their attempts to identify, interpret, and exploit what they were just beginning to perceive as historical stylistic developments. From the beginning of his career, Ingres freely borrowed from earlier art, adopting the style appropriate to his subject
Ingres
–
Self-portrait at age 24, 1804 (revised c. 1850), oil on canvas, 78 x 61 cm,
Musée Condé
Ingres
–
The Envoys of Agamemnon, 1801, oil on canvas, École des Beaux Arts, Paris
Ingres
–
Napoleon I on his Imperial Throne, 1806, oil on canvas, 260 x 163 cm,
Musée de l'Armée, Paris
Ingres
–
Madame Rivière, 1806, oil on canvas, 116.5 x 81.7 cm,
Louvre
15.
Othon Friesz
–
Achille-Émile Othon Friesz, who later called himself Othon Friesz, a native of Le Havre, was a French artist of the Fauvist movement. Othon Friesz was born in Le Havre, the son of a line of shipbuilders. He went to school in his native city and it was while he was at the Lycée that he met his lifelong friend Raoul Dufy. He and Dufy studied at the Le Havre School of Fine Arts in 1895-96, in Paris, Friesz met Henri Matisse, Albert Marquet, and Georges Rouault. Like them, he rebelled against the teaching of Bonnat and became a member of the Fauves. The following year, Friesz returned to Normandy and to a more traditional style of painting. He opened his own studio in 1912 and taught until 1914 at which time he joined the army for the duration of the war. He resumed living in Paris in 1919 and remained there, except for trips to Toulon. During the last thirty years of his life, he painted in a style completely removed from that of his earlier colleagues and he painted in a manner that respected Cézannes ideas of logical composition, simple tonality, solidity of volume, and distinct separation of planes. A faint baroque flavor adds vigor to his landscapes, still lifes and he is buried in the Cimetière du Montparnasse in Paris. His pupils included the painter Marthe Rakine, jean Cocteau, Bertrand Guégan, Lalmanach de Cocagne pour lan 1920-1922, Dédié aux vrais Gourmands Et aux Francs Buveurs The Port of Anvers 1906
Othon Friesz
–
Othon Friesz
Othon Friesz
–
Paysage à La Ciotat, 1907, oil on canvas, 59.9 x 72.9 cm
Othon Friesz
–
Le Travail à l'Automne, 1907-1908, oil on canvas, 200.5 x 250 cm,
National Museum of Art, Architecture and Design, Oslo
Othon Friesz
–
Les Baigneuses des Andelys (The Bathers of Andelys), 1908, oil on canvas, 97 x 162 cm, Musée du Petit Palais, Geneva
16.
Montmartre
–
Montmartre is a large hill in Pariss 18th arrondissement. It is 130 m high and gives its name to the surrounding district, Montmartre is primarily known for the white-domed Basilica of the Sacré-Cœur on its summit and as a nightclub district. The other, older, church on the hill is Saint Pierre de Montmartre, Montmartre is also the setting for several hit films. This site is served by metro, with line 2 stations at Anvers, Pigalle, and Blanche and line 12 stations at Pigalle, Abbesses, Lamarck - Caulaincourt, texts from the 8th century cite the name of mons Mercori, and a 9th-century text speaks of Mount Mars. Excavations in 1975 north of the Church of Saint-Pierre found coins from the 3rd century, earlier excavations in the 17th century at the Fontaine-du-But found vestiges of Roman baths from the 2nd century. According to Hilduin, Denis collected his head and carried it as far as the fontaine Saint-Denis, then descended the slope of the hill. Hilduin wrote that a church had built in the place formerly called Mont de Mars. In 1134, king Louis VI purchased the Merovingian chapel and built on the site the church of Saint-Pierre de Montmartre and he also founded The Royal Abbey of Montmartre, a monastery of the Benedictine order, whose buildings, gardens and fields occupied most of Montmartre. He also built a chapel, called the Martyrium, at the site where it was believed that Saint Denis had been decapitated. It became a pilgrimage site. In the 17th century, a priory called abbaye den bas was built at that site, the abbey was destroyed in 1790 during the French Revolution, and the convent demolished to make place for gypsum mines. The church of Saint-Pierre was saved, at the place where the chapel of the Martyrs was located, an oratory was built in 1855. By the 15th century, the north and northeast slopes of the hill were the site of a surrounded by vineyards, gardens and orchards of peach. The first mills were built on the slope in 1529, grinding wheat, barley. The siege eventually failed when a relief force approached and forced Henry to withdraw. In 1790, Montmartre was located just outside the limits of Paris and that year, under the revolutionary government of the National Constituent Assembly, it became the commune of Montmartre, with its town hall located on place du Tertre, site of the former abbey. The main businesses of the commune were wine making, stone quarries, the mining of gypsum had begun in the Gallo-Roman period, first in open air mines and then underground, and continued until 1860. The gypsum was cut into blocks, baked, then ground, sold as montmartarite, it was used for plaster, because of its resistance to fire and water
Montmartre
–
Montmartre, dominated by the
Basilica of the Sacré Cœur
Montmartre
–
Saint-Pierre de Montmartre (1133) seen from the dome of the Basilica of the Sacré-Cœur.
Montmartre
–
The Moulin de la Galette, painted by
Vincent Van Gogh in 1887 (Carnegie Museum of Art).
Montmartre
–
The Chapel of the Martyrs of Monmartre Abbey in the 17th century
17.
Georges Braque
–
Georges Braque was a major 20th-century French painter, collagist, draughtsman, printmaker and sculptor. His most important contributions to the history of art were in his alliance with Fauvism from 1906, braque’s work between 1908 and 1912 is closely associated with that of his colleague Pablo Picasso. Their respective Cubist works were indistinguishable for many years, yet the quiet nature of Braque was partially eclipsed by the fame, georges Braque was born on 13 May 1882 in Argenteuil, Val-dOise. He grew up in Le Havre and trained to be a house painter, however, he also studied artistic painting during evenings at the École des Beaux-Arts, in Le Havre, from about 1897 to 1899. In Paris, he apprenticed with a decorator and was awarded his certificate in 1902, the next year, he attended the Académie Humbert, also in Paris, and painted there until 1904. It was here that he met Marie Laurencin and Francis Picabia, Braques earliest works were impressionistic, but after seeing the work exhibited by the artistic group known as the Fauves in 1905, he adopted a Fauvist style. The Fauves, a group that included Henri Matisse and André Derain among others, Braque worked most closely with the artists Raoul Dufy and Othon Friesz, who shared Braques hometown of Le Havre, to develop a somewhat more subdued Fauvist style. In 1906, Braque traveled with Friesz to LEstaque, to Antwerp, in May 1907, he successfully exhibited works of the Fauve style in the Salon des Indépendants. The 1907 Cézanne retrospective at the Salon dAutomne greatly affected the artists of Paris. Braques paintings of 1908–1912 reflected his new interest in geometry and simultaneous perspective and he showed this in the painting Houses at lEstaque. Beginning in 1909, Braque began to work closely with Pablo Picasso who had been developing a similar proto-Cubist style of painting. At the time, Pablo Picasso was influenced by Gauguin, Cézanne, African masks, Picasso celebrates animation, while Braque celebrates contemplation. Thus, the invention of Cubism was a joint effort between Picasso and Braque, then residents of Montmartre, Paris and these artists were the styles main innovators. After meeting in October or November 1907, Braque and Picasso, in particular, both artists produced paintings of monochromatic color and complex patterns of faceted form, now termed Analytic Cubism. In 1912, they began to experiment with collage and Braque invented the papier collé technique, French art critic Louis Vauxcelles used the terms bizarre cubiques in 1908 after seeing a picture by Braque. He described it as full of little cubes, the term Cubism, first pronounced in 1911 with reference to artists exhibiting at the Salon des Indépendants, quickly gained wide use but Picasso and Braque did not adopt it initially. Art historian Ernst Gombrich described Cubism as the most radical attempt to stamp out ambiguity and to one reading of the picture—that of a man-made construction. The Cubist style spread quickly throughout Paris and then Europe, the two artists productive collaboration continued and they worked closely together until the beginning of World War I in 1914, when Braque enlisted with the French Army
Georges Braque
–
Georges Braque, 1908, photograph published in
Gelett Burgess, The Wild Men of Paris, Architectural Record, May 1910
Georges Braque
–
Georges Braque, 1906, L'Olivier près de l'Estaque (The Olive tree near l'Estaque). At least four versions of this scene were painted by Braque, one of which was stolen from the
Musée d'Art Moderne de la Ville de Paris during the month of May, 2010.
Georges Braque
–
Georges Braque, 1907-08, The Viaduct at L'Estaque (Le Viaduc de l'Estaque), oil on canvas, 65.1 x 80.6 cm,
Minneapolis Institute of Arts
Georges Braque
–
Georges Braque, 1908, Maisons et arbre (
Houses at l'Estaque), oil on canvas, 40.5 x 32.5 cm,
Lille Métropole Museum of Modern, Contemporary and Outsider Art
18.
Impressionist
–
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
Impressionist
–
Claude Monet,
Haystacks, (sunset), 1890–1891,
Museum of Fine Arts, Boston
Impressionist
–
Pierre-Auguste Renoir, Dance at Le Moulin de la Galette (
Bal du moulin de la Galette),
Musée d'Orsay, 1876
Impressionist
–
Édouard Manet,
The Luncheon on the Grass (Le déjeuner sur l'herbe), 1863
Impressionist
–
Alfred Sisley, View of the Saint-Martin Canal, Paris, 1870,
Musée d'Orsay
19.
Claude Monet
–
Monets ambition of documenting the French countryside led him to adopt a method of painting the same scene many times in order to capture the changing of light and the passing of the seasons. From 1883 Monet lived in Giverny, where he purchased a house and property, Claude Monet was born on 14 November 1840 on the fifth floor of 45 rue Laffitte, in the 9th arrondissement of Paris. He was the son of Claude Adolphe Monet and Louise Justine Aubrée Monet. On 20 May 1841, he was baptized in the parish church, Notre-Dame-de-Lorette, as Oscar-Claude. Despite being baptized Catholic, Monet later became an atheist, in 1845, his family moved to Le Havre in Normandy. His father wanted him to go into the familys ship-chandling and grocery business and his mother was a singer, and supported Monets desire for a career in art. On 1 April 1851, Monet entered Le Havre secondary school of the arts, locals knew him well for his charcoal caricatures, which he would sell for ten to twenty francs. Monet also undertook his first drawing lessons from Jacques-François Ochard, a student of Jacques-Louis David. On the beaches of Normandy around 1856 he met fellow artist Eugène Boudin, Boudin taught Monet en plein air techniques for painting. Both received the influence of Johan Barthold Jongkind, on 28 January 1857, his mother died. At the age of sixteen, he left school and went to live with his widowed, childless aunt, when Monet traveled to Paris to visit the Louvre, he witnessed painters copying from the old masters. Having brought his paints and other tools with him, he would go and sit by a window. Monet was in Paris for several years and met other painters, including Édouard Manet and others who would become friends. After drawing a low number in March 1861, Monet was drafted into the First Regiment of African Light Cavalry in Algeria for a seven-year period of military service. His prosperous father could have purchased Monets exemption from conscription but declined to do so when his son refused to give up painting. While in Algeria Monet did only a few sketches of scenes, a single landscape. In a Le Temps interview of 1900 however he commented that the light, after about a year of garrison duty in Algiers, Monet contracted typhoid fever and briefly went absent without leave. Following convalescence, Monets aunt intervened to get him out of the army if he agreed to complete a course at an art school and it is possible that the Dutch painter Johan Barthold Jongkind, whom Monet knew, may have prompted his aunt on this matter
Claude Monet
–
Claude Monet, photo by
Nadar, 1899.
Claude Monet
–
Impression, Sunrise (Impression, soleil levant), 1872; the painting that gave its name to the style.
Musée Marmottan Monet, Paris
Claude Monet
–
The Woman in the Green Dress,
Camille Doncieux, 1866,
Kunsthalle Bremen
Claude Monet
–
Le déjeuner sur l'herbe, (right section), 1865–1866, with
Gustave Courbet,
Frédéric Bazille and Camille Doncieux, first wife of the artist,
Musée d'Orsay,
Paris
20.
Camille Pissarro
–
Camille Pissarro was a Danish-French Impressionist and Neo-Impressionist painter born on the island of St Thomas. His importance resides in his contributions to both Impressionism and Post-Impressionism, Pissarro studied from great forerunners, including Gustave Courbet and Jean-Baptiste-Camille Corot. He later studied and worked alongside Georges Seurat and Paul Signac when he took on the Neo-Impressionist style at the age of 54, in 1873 he helped establish a collective society of fifteen aspiring artists, becoming the pivotal figure in holding the group together and encouraging the other members. Cézanne said he was a father for me, a man to consult and a little like the good Lord, and he was also one of Gauguins masters. Renoir referred to his work as revolutionary, through his portrayals of the common man. Pissarro is the only artist to have shown his work at all eight Paris Impressionist exhibitions and he acted as a father figure not only to the Impressionists but to all four of the major Post-Impressionists, including Georges Seurat, Paul Cézanne, Vincent van Gogh and Paul Gauguin. Jacob Abraham Camille Pissarro was born on 10 July 1830 on the island of St. Thomas to Frederick and his father was of Portuguese Jewish descent and held French nationality. His mother was from a French-Jewish family from the island of St. Thomas and his father was a merchant who came to the island from France to deal with the hardware store of a deceased uncle and married his widow. The marriage caused a stir within St. Thomas small Jewish community because she was married to Fredericks uncle. In subsequent years his four children were forced to attend the primary school. Upon his death, his will specified that his estate be split equally between the synagogue and St. Thomas Protestant church, when Camille was twelve his father sent him to boarding school in France. He studied at the Savary Academy in Passy near Paris, while a young student, he developed an early appreciation of the French art masters. Monsieur Savary himself gave him a grounding in drawing and painting and suggested he draw from nature when he returned to St. Thomas. However, his father preferred he work in his business, giving him a job working as a cargo clerk and he took every opportunity during those next five years at the job to practise drawing during breaks and after work. When he turned twenty-one, Danish artist Fritz Melbye, then living on St. Thomas, inspired Pissarro to take on painting as a profession, becoming his teacher. Pissarro then chose to leave his family and job and live in Venezuela and he drew everything he could, including landscapes, village scenes, and numerous sketches, enough to fill up multiple sketchbooks. In 1855 he moved back to Paris where he working as assistant to Anton Melbye. In Paris he worked as assistant to Danish painter Anton Melbye and he also studied paintings by other artists whose style impressed him, Courbet, Charles-François Daubigny, Jean-François Millet, and Corot
Camille Pissarro
–
Circa 1900
Camille Pissarro
–
Paisaje tropical con casas rurales y palmeras, c. 1853.
Galería de Arte Nacional, Caracas
Camille Pissarro
–
Two Women Chatting by the Sea,
St. Thomas, (1856), (private collection)
Camille Pissarro
–
Jalais Hill, Pontoise,
Metropolitan Museum of Art 1867
21.
Berthe Weill
–
Berthe Weill was a French art dealer who played a vital role in the creation of the market for twentieth-century art with the manifestation of the Parisian Avant-Garde. Her role was important in the early exposure and sales of women painters such as Suzanne Valadon, Emilie Charmy. In 1933, Weill published her memoirs, an account of thirty years as an art dealer, recently, interest in Berthe Weill has become more significant. In 2007, Picasso’s portrait of Berthe Weill was designated a French national treasure, in 2009 her memoirs were republished and a compilation of her gallery exhibitions, in 2011 the first study dedicated to her life and dealership was published. In February 2012, the City of Paris decided to put a stone at 25 rue Victor Massé where Berthe Weill opened her first gallery in 1900. Esther Berthe Weill was born in Paris into an Alsatian Jewish lower middle class family and this experience would serve her well as she also met collectors, writers and other dealers. Upon Mayer’s death, she opened a shop in association with one of her brothers. Under the influence of Roger Marx, an art critic. In 1900, not long after Picasso arrived in Paris, she bought, in the event, her gallery lasted until 1939. In 1948, the Republic of France recognized her as a Chevalier de Légion d’Honneur, in 1951, at the age of 86, Weill died. Adolphe Brisson, Literary Critic for Temps Picasso’s first sales in Paris were three pastels on canvas depicting bullfighting scenes, which Weill sold to him in 1900, Arthur Huc, Director of La Dépêche de Toulouse. Weill sold Le Moulin de la Galette to Arthur Huc, according to John Richardson, Huc was one of the most progressive collectors of the day”. Later this painting was bought by Justin Thannhauser who donated it to the Guggenheim Museum, franz Jourdain, Architect of the Samaritaine Department Store, first president of the Salon dAutomne, in 1902, Weill sold a Marquet to him. André Level, Head of the consortium of investors who, in 1904, in 1914, it was sold at auction and was notable for its phenomenal financial success. Weill claimed that three-quarters of the items in the collection were purchased from her gallery, even if she exaggerated, there is no doubt that Level bought from her on a regular basis. Gustave Coquiot, French writer and art critic, collector of Maurice Utrillo, sergei Shchukin, Russian collector from Moscow. Berthe Weill Archives Berthe Weill, Galériste à Montmartre, biography by Françoise Job,2005 Decision by the Council of Paris to install a plaque commémorative at 25, rue Victor Massé
Berthe Weill
–
Berthe Weill, 1865–1951), pioneering art gallery owner
Berthe Weill
–
Leaflet for Modigliani's only one-man exhibition, held at Galerie Berthe Weill in 1917. The exhibition was closed by the police on grounds of nudity
Berthe Weill
–
Early 1900s Poster depicting a nude artist and a man in top hat for a Berthe Weill exhibition
22.
Maurice Denis
–
Maurice Denis was a French painter and writer, and a member of the Symbolist and Les Nabis movements. His theories contributed to the foundations of cubism, fauvism, Maurice Denis was born 25 November 1870, in Granville, Manche, a coastal town in the Normandy region of France. Waters and coastlines would remain favorite subject throughout his career. The Denis family was affluent, and young Maurice attended both the École des Beaux-Arts and the Académie Julian, where he studied with the French figure painter and theorist Jules Joseph Lefebvre. At the Académie, he met painters and future Nabi members including Paul Sérusier, Pierre Bonnard, through Bonnard he also met the future Nabis Édouard Vuillard, Ker-Xavier Roussel, in 1890, they formed The Nabis. They chose Nabi—Hebrew for Prophet—because they understood they would be creating new forms of expression, the group would split apart by the end of the decade, and would influence the later work of both Bonnard and Vuillard, as well as non-Nabi painters like Henri Matisse. After Les Nabis, Denis went on to focus on religious subjects, in 1922, he published his collected historical and theoretical work as Nouvelles théories sur l’art moderne, sur l’art sacré—that is, New Theories of Modern and Sacred Art. The subjects of his works include landscapes and figure studies, particularly of mother. Denis was among the first artists to insist on the flatness of the picture plane—one of the starting points for modernism. In 1898, he produced a theory of creation that found the source for art in the character of the painter, That which creates a work of art is the power and the will of the artist. The Ateliers dArt Sacré were founded on 5 November 1919 after World War I by Denis, the Ateliers created art for churches, particularly those devastated by the recent war. Denis said that he was against academic art because it sacrificed emotion to convention and artifice, above all he wanted beauty, which was an attribute of divinity. Denis, a Catholic tertiary, married his first wife, Marthe Meurier and they had seven children, and she would pose for numerous Denis works. Following her death in 1919, Denis painted a chapel dedicated to her memory, two years later, he married again, to Elisabeth Graterolle, and fathered two more children. Politically, he was close to the monarchist Action Française movement, Denis died in Paris of injuries resulting from an automobile accident in November 1943. In 1980, the Maurice Denis Museum was opened in the home in the Parisian suburb of Saint-Germain-en-Laye. A major retrospective was mounted at the Musée Des Beaux Arts de Montréal in 2007, a similar exhibition took place in 1995 at the UKs Walker Art Gallery in Liverpool. Leçons de l’Italie, d’après son journal | Lessons from Italy, based on his Journal
Maurice Denis
–
Portrait of Maurice Denis by
Odilon Redon
Maurice Denis
–
Wave, 1916 painting by Maurice Denis. 100 × 124 cm.
Ohara Museum of Art
Maurice Denis
–
Homage to Cézanne, 1900.
Maurice Denis
–
Paul Jamot and Maurice Denis.
23.
Sainte-Adresse
–
Sainte-Adresse is a commune in the Seine-Maritime department in the Haute-Normandie region in northern France. A coastal suburb situated some 2 miles northwest of Le Havre city centre, at the junction of the D147, the English Channel forms the western border of the commune. The oldest known name of the commune was Caput Caleti mentioned in 1240, later known as Saint-Denis-Chef-de-Caux, named after an ancient place of worship and its position on the cape. In 1415, Henry V landed with his fleet, to claim the throne of France, starting in 1905, Georges Dufayel, a Parisian businessman, created a residential seaside resort known as Nice havrais, at Sainte Adresse. The local architect Ernest Daniel directed operations, the Avenue de Regatta on the waterfront is designed in the image of the promenade des Anglais in Nice. During World War I, Sainte-Adresse was the capital of Belgium. The Belgian government in exile was installed from October 1914 to November 1918 in the Dufayel building and it had at its disposal a post office using Belgian postage stamps. During World War II, the Germans built several fortifications here for the Atlantic Wall, the church of St. Denis, dating from the nineteenth century. Claude Monet, Jardin à Sainte-Adresse,1867,98.1 cm x 129.9 cm, Metropolitan Museum of Art, Georges Dufayel, Parisian businessman who built the Nice havrais resort and the building that still bears his name. Henri de Gaulle and his wife Jeanne, parents of Charles de Gaulle, are buried here, alphonse Karr, director ofFigaro, launches the first resort in 1841. Prosper Mérimée located the action of his story at Sainte-Adresse. normandythenandnow. com/sainte-adresse/
Sainte-Adresse
–
Pain de sucre (Sugar-loaf) memorial
Sainte-Adresse
–
The chapel of Notre-Dame-des-flots
Sainte-Adresse
–
"Jardin à Sainte-Adresse" by Claude Monet
Sainte-Adresse
–
"Régates à Sainte-Adresse" by Claude Monet
24.
Albert Marquet
–
Albert Marquet was a French painter, associated with the Fauvist movement. He initially became one of the Fauve painters and a friend of Henri Matisse. Marquet subsequently painted in a naturalistic style, primarily landscapes. Marquet was born in 1875 at Bordeaux, in 1890 he moved to Paris to attend the Ecole des Arts Decoratifs, where he met Henri Matisse. They were roommates for a time, and they influenced each others work, Marquet began studies in 1892 at the École des Beaux-Arts under Gustave Moreau, a symbolist artist who was a follower of the Romantic tradition of Eugène Delacroix. In these years, Marquet exhibited paintings at the Salon des Indépendants, although he did not sell many paintings, the artistic community of Paris became aware of his work. He became a friend of Matisse. Dismayed by the coloration in these paintings, critics reacted by naming the artists the Fauves. Marquet subsequently painted in a naturalistic style, primarily landscapes. At the end of 1907 he stayed in Paris and dedicated himself, together with Matisse, the fundamental difference between the two is that while Matisse used strong colours, Marquet favored grayed yellows, greyed violets or blues. From 1907 to his death, Marquet alternated between working in his studio in Paris and many parts of the European coast and in North Africa and he was most involved with Algeria and Algiers and with Tunisia. In his voyages he painted the sea and ships, but also the lights and animated life of the city, especially cities on the waterfront, among European cities Marquet remained impressed particularly with Naples and Venice where he painted the sea and boats, accenting the light over water. His views of the lagoon in Venice do this very economically, the water stays at a right angle to the picture plane and the large ships float with ease, with their reflections exactly the correct tone to project the required space. His color is much like Matisse of the 1920s, here and his contrasts of vivid colors describe the waves of the sea with simple drawing which accompany the exactly observed color tones, giving a scene of placid movement. The human figures are simplified, calligraphically drawn in a way related to Japanese Shijo style work. Matisse said, When I look at Hokusai, I think of Marquet—and vice versa, I dont mean imitation of Hokusai, I mean similarity with him. During his voyages to Germany and Sweden he painted the subjects he preferred, river and sea views, ports and ships. Over the course of his career he returned to the same subjects, even years later
Albert Marquet
–
Sergeant of the Colonial Regiment circa 1906-1907, oil on canvas, 90.2 x 71.1 cm,
Metropolitan Museum of Art, New York City, United States
Albert Marquet
–
Albert Marquet, 1906, Fécamp (The Beach at Sainte-Adresse), oil on canvas, 64.5 x 80 cm
Albert Marquet
–
Albert Marquet, 1916, Port of Marseilles, oil on canvas, 65 x 81 cm,
Ohara Museum of Art
Albert Marquet
–
Albert Marquet, 1919, La femme blonde (Femme blonde sur un fond de châle espagnol), oil on canvas, 98.5 x 98.5 cm,
Musée National d'Art Moderne,
Centre Georges Pompidou, Paris
25.
English Channel
–
The English Channel, also called simply the Channel, is the body of water that separates southern England from northern France, and links the southern part of the North Sea to the Atlantic Ocean. It is about 560 km long and varies in width from 240 km at its widest to 33.3 km in the Strait of Dover and it is the smallest of the shallow seas around the continental shelf of Europe, covering an area of some 75,000 km2. The International Hydrographic Organization defines the limits of the English Channel as follows, a line joining Isle Vierge to Lands End. The southwestern limit of the North Sea, the IHO defines the southwestern limit of the North Sea as a line joining the Walde Lighthouse and Leathercoat Point. The Walde Lighthouse is 6 km east of Calais, and Leathercoat Point is at the end of St Margarets Bay. The Strait of Dover, at the Channels eastern end, is its narrowest point and it is relatively shallow, with an average depth of about 120 m at its widest part, reducing to a depth of about 45 m between Dover and Calais. Eastwards from there the adjoining North Sea reduces to about 26 m in the Broad Fourteens where it lies over the watershed of the land bridge between East Anglia and the Low Countries. It reaches a depth of 180 m in the submerged valley of Hurds Deep,48 km west-northwest of Guernsey. The eastern region along the French coast between Cherbourg and the mouth of the Seine river at Le Havre is frequently referred to as the Bay of the Seine. There are several islands in the Channel, the most notable being the Isle of Wight off the English coast. The coastline, particularly on the French shore, is indented, several small islands close to the coastline, including Chausey. The Cotentin Peninsula in France juts out into the Channel, whilst on the English side there is a parallel channel known as the Solent between the Isle of Wight and the mainland. The Celtic Sea is to the west of the Channel, the Channel is of geologically recent origins, having been dry land for most of the Pleistocene period. The first flood would have lasted for months, releasing as much as one million cubic metres of water per second. The flood started with large but localized waterfalls over the ridge, the flow eroded the retaining ridge, causing the rock dam to fail and releasing lake water into the English Channel. The erosion of the Lobourg Channel was probably the final opening of the Strait, the time difference of about six hours between high water at the eastern and western limits of the Channel is indicative of the tidal range being amplified further by resonance. It was never defined as a border and the names were more or less descriptive. It was not considered as the property of a nation, strangely, before the development of the modern nations, British scholars very often referred to it as Gaulish and the French one as British or English
English Channel
–
English Channel
English Channel
–
Three French river mouths. Top to bottom: the
Somme, the
Authie and the
Canche
English Channel
–
The Hermitage of
St Helier lies in the bay off
Saint Helier and is accessible on foot at low tide.
English Channel
–
British radar facilities during the
Battle of Britain 1940
26.
National Gallery of Art
–
The National Gallery of Art, and its attached Sculpture Garden, is a national art museum in Washington, D. C. located on the National Mall, between 3rd and 9th Streets, at Constitution Avenue NW. Open to the public and free of charge, the museum was established in 1937 for the American people by a joint resolution of the United States Congress. Andrew W. Mellon donated an art collection and funds for construction. The Gallery often presents temporary special exhibitions spanning the world and the history of art and it is one of the largest museums in North America. In 1930 Mellon formed the A. W. Mellon Educational and Charitable Trust, when quizzed by Abbot, he explained that the project was in the hands of the Trust and that its decisions were partly dependent on the attitude of the Government towards the gift. Designed by architect John Russell Pope, the new structure was completed and accepted by President Franklin D. Roosevelt on behalf of the American people on March 17,1941. Neither Mellon nor Pope lived to see the completed, both died in late August 1937, only two months after excavation had begun. At the time of its inception it was the largest marble structure in the world, as anticipated by Mellon, the creation of the National Gallery encouraged the donation of other substantial art collections by a number of private donors. The Gallerys East Building was constructed in the 1970s on much of the land left over from the original congressional joint resolution. It was funded by Mellons children Paul Mellon and Ailsa Mellon Bruce, designed by famed architect I. M. Pei, the contemporary structure was completed in 1978 and was opened on June 1 of that year by President Jimmy Carter. The new building was built to house the Museums collection of paintings, drawings, sculptures. The design received a National Honor Award from the American Institute of Architects in 1981, the final addition to the complex is the National Gallery of Art Sculpture Garden. Completed and opened to the public on May 23,1999, the National Gallery of Art is supported through a private-public partnership. The United States federal government provides funds, through annual appropriations, to support the museums operations, all artwork, as well as special programs, are provided through private donations and funds. The museum is not part of the Smithsonian Institution, noted directors of the National Gallery have included David E. Finley, Jr. John Walker, and J. Carter Brown. Rusty Powell III is the current director, entry to both buildings of the National Gallery of Art is free of charge. From Monday through Saturday, the museum is open from 10 a. m. –5 p. m. it is open from 11 –6 p. m. on Sundays and it is closed on December 25 and January 1. The museum comprises two buildings, the West Building and the East Building linked by an underground passage
National Gallery of Art
–
National Gallery of Art
National Gallery of Art
–
The East Building
National Gallery of Art
–
Exhibitions in the West Building
National Gallery of Art
–
Exhibitions in the East Building
27.
Henri Matisse
–
Henri-Émile-Benoît Matisse was a French artist, known for both his use of colour and his fluid and original draughtsmanship. He was a draughtsman, printmaker, and sculptor, but is primarily as a painter. Although he was labelled a Fauve, by the 1920s he was increasingly hailed as an upholder of the classical tradition in French painting. His mastery of the language of colour and drawing, displayed in a body of work spanning over a half-century. Matisse was born in Le Cateau-Cambrésis, in the Nord department in northern France and he grew up in Bohain-en-Vermandois, Picardie, France. In 1887 he went to Paris to study law, working as an administrator in Le Cateau-Cambrésis after gaining his qualification. He first started to paint in 1889, after his mother brought him art supplies during a period of following an attack of appendicitis. He discovered a kind of paradise as he described it. In 1891 he returned to Paris to study art at the Académie Julian and became a student of William-Adolphe Bouguereau, initially he painted still lifes and landscapes in a traditional style, at which he achieved reasonable proficiency. Chardin was one of the painters Matisse most admired, as an art student he made copies of four of Chardins paintings in the Louvre, in 1896 and 1897, Matisse visited the Australian painter John Peter Russell on the island Belle Île off the coast of Brittany. Russell introduced him to Impressionism and to the work of van Gogh and he later said Russell was my teacher, and Russell explained colour theory to me. In 1896 Matisse exhibited five paintings in the salon of the Société Nationale des Beaux-Arts, with the model Caroline Joblau, he had a daughter, Marguerite, born in 1894. In 1898 he married Amélie Noellie Parayre, the two raised Marguerite together and had two sons, Jean and Pierre, Marguerite and Amélie often served as models for Matisse. In 1898, on the advice of Camille Pissarro, he went to London to study the paintings of J. M. W. Turner and then went on a trip to Corsica. Upon his return to Paris in February 1899, he worked beside Albert Marquet and met André Derain, Jean Puy, Matisse immersed himself in the work of others and went into debt from buying work from painters he admired. The work he hung and displayed in his home included a plaster bust by Rodin, a painting by Gauguin, a drawing by van Gogh, in Cézannes sense of pictorial structure and colour, Matisse found his main inspiration. Many of Matisses paintings from 1898 to 1901 make use of a Divisionist technique he adopted after reading Paul Signacs essay and his paintings of 1902–03, a period of material hardship for the artist, are comparatively somber and reveal a preoccupation with form. Having made his first attempt at sculpture, a copy after Antoine-Louis Barye, in 1899, he devoted much of his energy to working in clay, fauvism as a style began around 1900 and continued beyond 1910
Henri Matisse
–
Henri Matisse, 1913, by
Alvin Langdon Coburn
Henri Matisse
–
Henri and Amélie Matisse, 1898
Henri Matisse
–
Woman Reading, 1894, Museum of Modern Art, Paris
Henri Matisse
–
Blue Pot and Lemon (1897),
Hermitage Museum,
St. Petersburg, Russia
28.
Stenographic
–
Shorthand is an abbreviated symbolic writing method that increases speed and brevity of writing as compared to longhand, a more common method of writing a language. The process of writing in shorthand is called stenography, from the Greek stenos and it has also been called brachygraphy, from Greek brachys and tachygraphy, from Greek tachys, depending on whether compression or speed of writing is the goal. A typical shorthand system provides symbols or abbreviations for words and common phrases, abbreviation methods are alphabet-based and use different abbreviating approaches. Several autocomplete programs, standalone or integrated in text editors, based on word lists, many journalists use shorthand writing to quickly take notes at press conferences or other similar scenarios. Shorthand was used widely in the past, before the invention of recording. Shorthand was considered a part of secretarial training and police work. Although the primary use of shorthand has been to record oral dictation or discourse, for example, healthcare professionals may use shorthand notes in medical charts and correspondence. The earliest known indication of shorthand systems is from the Parthenon in Ancient Greece and this shows a writing system primarily based on vowels, using certain modifications to indicate consonants. Hellenistic tachygraphy is reported from the 2nd century BC onwards, though there are indications that it might be older, the oldest datable reference is a contract from Middle Egypt, stating that Oxyrhynchos gives the semeiographer Apollonios for two years to be taught shorthand writing. Hellenistic tachygraphy consisted of word stem signs and word ending signs, over time, many syllabic signs were developed. In Ancient Rome, Marcus Tullius Tiro, a slave and later a freedman of Cicero, the Tironian notes consisted of Latin word stem abbreviations and of word ending abbreviations. The original Tironian notes consisted of about 4000 signs, but new signs were introduced, in order to have a less complex writing system, a syllabic shorthand script was sometimes used. After the decline of the Roman Empire, the Tironian notes were no longer used to transcribe speeches, though they were known and taught. After the 11th century, however, they were mostly forgotten, when many monastery libraries were secularized in the course of the 16th-century Protestant Reformation, long-forgotten manuscripts of Tironian notes were rediscovered. In imperial China, clerks used an abbreviated, highly cursive form of Chinese characters to record court proceedings and these records were used to create more formal transcripts. One cornerstone of imperial court proceedings was that all confessions had to be acknowledged by the signature, personal seal, or thumbprint. Versions of this technique survived in clerical professions into the modern day, an interest in shorthand or short-writing developed towards the end of the 16th century in England. In 1588 Timothy Bright published his Characterie, An Arte of Shorte, Swifte and Secrete Writing by Character which introduced a system with 500 arbitrary symbols each representing one word
Stenographic
–
Dutch stenography using the "System Groote"
Stenographic
–
The
Lord's Prayer in
Gregg and a variety of 19th-century systems
Stenographic
–
Sun Guoting 's Treatise on Calligraphy, an example of cursive writing of Chinese characters.
Stenographic
–
Tombstone of
Heinrich Roller, inventor of a
German shorthand system, with a sample of his shorthand
29.
French Riviera
–
The Côte dAzur, often known in English as the French Riviera, is the Mediterranean coastline of the southeast corner of France, also including the sovereign state of Monaco. There is no boundary, but it is usually considered to extend from the Italian border in the east to Saint-Tropez, Hyères, Toulon. This coastline was one of the first modern resort areas and it began as a winter health resort for the British upper class at the end of the 18th century. In the summer, it played home to many members of the Rothschild family. After World War II, it became a popular tourist destination and convention site, many celebrities, such as Elton John and Brigitte Bardot, have homes in the region. Officially, the Côte dAzur is home to 163 nationalities with 83,962 foreign residents and its largest city is Nice, which has a population of 347,060. The city is the center of a communauté urbaine – Nice-Côte dAzur – bringing together 24 communes, Nice is home to Nice Côte dAzur Airport, Frances third-busiest airport, which is on an area of partially reclaimed coastal land at the western end of the Promenade des Anglais. A second airport at Mandelieu was once the commercial airport. The A8 autoroute runs through the region, as does the old main road known as the Route nationale 7. Trains serve the region and inland to Grasse, with the TGV Sud Est service reaching Nice-Ville station in five. The French Riviera has a population of more than two million. The region has 35,000 students, of whom 25 percent are working toward a doctorate, the French Riviera is a major yachting and cruising area with several marinas along its coast. As a tourist center, French Riviera benefits from 310 to 330 days of sunshine per year,115 kilometres of coastline, the name Côte dAzur was given to the coast by the writer Stéphen Liégeard in his book, La Côte d’azur, published in December 1887. Liégeard was born in Dijon, in the French department of Côte-dOr, the term French Riviera is typical of English use. It was built by analogy with the term Italian Riviera, which extends east of the French Riviera. As early as the 19th century, the British referred to the region as the Riviera or the French Riviera, usually referring to the part of the coast. Originally, riviera is an Italian noun which means coastline, in Occitan and French, the only usual names are Còsta dAzur in Occitan and Côte dAzur in French. A name like French Riviera is unusual and sounds odd, it could work as a word-to-word translation of the British point of view
French Riviera
–
The lighthouse of Nice, on the French Riviera
French Riviera
–
Map showing the extent of the Côte d'Azur.
French Riviera
–
View of Port Hercule, Monaco
French Riviera
–
The Old Town district of
Menton, which is the last town on the Côte d'Azur before the Italian frontier.
30.
Guillaume Apollinaire
–
Guillaume Apollinaire was a French poet, playwright, short story writer, novelist, and art critic of Polish descent. Apollinaire is considered one of the foremost poets of the early 20th century, as well as one of the most impassioned defenders of Cubism and a forefather of Surrealism. He is credited with coining the term cubism in 1911 to describe the art movement. The term Orphism is also his, Apollinaire wrote one of the earliest Surrealist literary works, the play The Breasts of Tiresias, which became the basis for the 1947 opera Les mamelles de Tirésias. Two years after being wounded in World War I, Apollinaire died in the Spanish flu pandemic of 1918, wilhelm Albert Włodzimierz Apolinary Kostrowicki was born in Rome, Italy, and was raised speaking French, Italian, and Polish. He emigrated to France in his teens and adopted the name Guillaume Apollinaire. His mother, born Angelika Kostrowicka, was a Polish noblewoman born near Navahrudak and his maternal grandfather was a general in the Russian Imperial Army who was killed in the Crimean War. Apollinaires father is unknown but may have been Francesco Costantino Camillo Flugi dAspermont, Francesco Flugi von Aspermont was a nephew of Conradin Flugi dAspermont, a poet who wrote in ladin putèr, and perhaps also of the Minnesänger Oswald von Wolkenstein. Apollinaire eventually moved from Rome to Paris and became one of the most popular members of the community of Paris. He became romantically involved with Marie Laurencin, who is identified as his muse. In late 1909 or early 1910, Metzinger painted a Cubist portrait of Apollinaire. In his Vie anecdotique, the poet proudly writes, I am honoured to be the first model of a Cubist painter, Jean Metzinger, in 1911 he joined the Puteaux Group, a branch of the Cubist movement soon to be known as the Section dOr. The opening address of the 1912 Salon de la Section dOr—the most important pre-World War I Cubist exhibition—was given by Apollinaire. On 7 September 1911, police arrested and jailed him on suspicion of aiding and abetting the theft of the Mona Lisa and a number of Egyptian statuettes from the Louvre, but released him a week later. The theft of the statues was committed by a secretary of Apollinaires, Honoré Joseph Géry Pieret. Apollinaire implicated his friend Pablo Picasso, who was brought in for questioning in the theft of the Mona Lisa. The theft of the Mona Lisa was perpetrated by Vincenzo Peruggia, Apollinaire was active as a journalist and art critic for Le Matin, Intransigeant, and Paris Journal. He once called for the Louvre to be burnt down, Apollinaire wrote the preface for the first Cubist exposition outside of Paris, VIII Salon des Indépendants, Brussels,1911
Guillaume Apollinaire
–
Photograph of Guillaume Apollinaire in spring 1916 after his shrapnel wound to the temple
Guillaume Apollinaire
–
Apollinaire, 1902, Cologne
Guillaume Apollinaire
–
"La Joconde est Retrouvée" (The Mona Lisa is Found), Le Petit Parisien, No. 13559, 13 December 1913
Guillaume Apollinaire
–
Jean Metzinger, 1911, Etude pour le portrait de Guillaume Apollinaire, graphite on paper, 48 x 31.2 cm,
Musée National d'Art Moderne,
Centre Georges Pompidou, Paris
31.
Paul Poiret
–
Paul Poiret was a leading French fashion designer, a master couturier during the first two decades of the 20th century. His contributions to his field have been likened to Picassos legacy in 20th-century art, Poiret was born on 20 April 1879 to a cloth merchant in the poor neighborhood of Les Halles, Paris. His parents, in an effort to rid him of his natural pride, there, he collected scraps of silk left over from the cutting of umbrella patterns, and fashioned clothes for a doll that one of his sisters had given him. While a teenager, Poiret took his sketches to Louise Chéruit, a prominent dressmaker, Poiret continued to sell his drawings to major Parisian couture houses, until he was hired by Jacques Doucet in 1896. His first design, a red cape, sold 400 copies. Poiret later moved to the House of Worth, where he was responsible for designing simple, the brazen modernity of his designs, however, proved too much for Worths conservative clientele. When Poiret presented the Russian Princess Bariatinsky with a Confucius coat with an innovative kimono-like cut, for instance, she exclaimed, What a horror. When there are low fellows who run after our sledges and annoy us, we have their heads cut off, Poiret established his own house in 1903, and made his name with his controversial kimono coat and similar, loose-fitting designs created specifically for an uncorseted, slim figure. He designed flamboyant window displays and threw parties to draw attention to his work. His instinct for marketing and branding was unmatched by any other Parisian designer, in 1909, he was so famous, Margot Asquith, wife of British Prime Minister H. H. Asquith, invited him to show his designs at 10 Downing Street. The cheapest garment at the exhibition was 30 guineas, double the salary of a scullery maid. Poirets house expanded to encompass interior decoration and fragrance, in1911 Poiret unveiled “Parfums de Rosine with a flamboyant soiree held at his palatial home, attended by the cream of Parisian society and the artistic world. Poiret fancifully christened the event “la mille et deuxième nuit”, inspired by the fantasy of a sultans harem and his gardens were illuminated by lanterns, set with tents, and live, tropical birds. Madame Poiret herself luxuriated in a golden cage, Poiret was the reigning sultan, gifting each guest with a bottle of his new fragrance creation, appropriately named to befit the occasion, “Nuit Persane. ”His marketing strategy, played out as entertainment, became the talk of Paris. A second scent debuted in 1912 - “Le Minaret, ” again emphasizing the harem theme, in 1911, publisher Lucien Vogel dared photographer Edward Steichen to promote fashion as a fine art in his work. Steichen responded by snapping photos of gowns designed by Poiret, hauntingly backlit and these were published in the April 1911 issue of the magazine Art et Décoration. However, notable couture names were missing from this brilliant assemblage, including such major tastemakers as Lucile, Jeanne Lanvin, also in 1911, Poiret launched the École Martine, a home decor division of his design house, named for his second daughter. The establishment provided artistically inclined, working-class girls with trade skills, in 1911 Poret leased part of the property at 109 Rue du Faubourg Saint Honoré to his friend Henri Barbazanges, who opened the Galerie Barbazanges to exhibit contemporary art
Paul Poiret
–
Paul Poiret, c. 1913
Paul Poiret
–
Poiret illustrations by
Paul Iribe, 1908
Paul Poiret
–
Poiret
harem pants and sultana skirts, 1911
Paul Poiret
–
Model in a Poiret dress, 1914
32.
Patterns
–
A pattern, apart from the terms use to mean Template, is a discernible regularity in the world or in a manmade design. As such, the elements of a repeat in a predictable manner. A geometric pattern is a kind of pattern formed of geometric shapes, any of the senses may directly observe patterns. Conversely, abstract patterns in science, mathematics, or language may be only by analysis. Direct observation in practice means seeing visual patterns, which are widespread in nature, visual patterns in nature are often chaotic, never exactly repeating, and often involve fractals. Natural patterns include spirals, meanders, waves, foams, tilings, cracks, Patterns have an underlying mathematical structure, indeed, mathematics can be seen as the search for regularities, and the output of any function is a mathematical pattern. Similarly in the sciences, theories explain and predict regularities in the world, in art and architecture, decorations or visual motifs may be combined and repeated to form patterns designed to have a chosen effect on the viewer. In computer science, a design pattern is a known solution to a class of problems in programming. In fashion, the pattern is a used to create any number of similar garments. Nature provides examples of many kinds of pattern, including symmetries, trees and other structures with a dimension, spirals, meanders, waves, foams, tilings, cracks. Symmetry is widespread in living things, animals that move usually have bilateral or mirror symmetry as this favours movement. Plants often have radial or rotational symmetry, as do many flowers, as well as animals which are largely static as adults, fivefold symmetry is found in the echinoderms, including starfish, sea urchins, and sea lilies. Among non-living things, snowflakes have striking sixfold symmetry, each flake is unique, crystals have a highly specific set of possible crystal symmetries, they can be cubic or octahedral, but cannot have fivefold symmetry. Many natural patterns are shaped by this apparent randomness, including vortex streets, waves are disturbances that carry energy as they move. Mechanical waves propagate through a medium – air or water, making it oscillate as they pass by, wind waves are surface waves that create the chaotic patterns of the sea. As they pass over sand, such waves create patterns of ripples, similarly, as the passes over sand. Foams obey Plateaus laws, which films to be smooth and continuous. Foam and bubble patterns occur widely in nature, for example in radiolarians, sponge spicules, cracks form in materials to relieve stress, with 120 degree joints in elastic materials, but at 90 degrees in inelastic materials
Patterns
–
Tilings, such as these from Igreja de Campanhã, Porto,
Portugal, are visual patterns used for decoration.
Patterns
–
Snowflake sixfold symmetry
Patterns
–
Aloe polyphylla phyllotaxis
Patterns
–
Vortex street turbulence
33.
Corticotropin
–
Adrenocorticotropic hormone, also known as corticotropin is a polypeptide tropic hormone produced and secreted by the anterior pituitary gland. It is also used as a medication and diagnostic agent and it is an important component of the hypothalamic-pituitary-adrenal axis and is often produced in response to biological stress. Its principal effects are increased production and release of cortisol by the cortex of the adrenal gland, ACTH is also related to the circadian rhythm in many organisms. Deficiency of ACTH is a sign of secondary adrenal insufficiency or tertiary adrenal insufficiency, conversely, chronically elevated ACTH levels occur in primary adrenal insufficiency when adrenal gland production of cortisol is chronically deficient. In Cushings disease a pituitary tumor is the cause of elevated ACTH, POMC, ACTH and β-lipotropin are secreted from corticotropes in the anterior lobe of the pituitary gland in response to the hormone corticotropin-releasing hormone released by the hypothalamus. These fragments include, In order to regulate the secretion of ACTH, many substances secreted within this axis exhibit slow/intermediate, glucocorticoids secreted from the adrenal cortex work to inhibit CRH secretion by the hypothalamus, which in turn decreases anterior pituitary secretion of ACTH. Glucocorticoids may also inhibit the rates of POMC gene transcription and peptide synthesis, the latter is an example of a slow feedback loop, which works on the order of hours to days, whereas the former works on the order of minutes. The half-life of ACTH in human blood is about ten minutes, ACTH consists of 39 amino acids, the first 13 of which may be cleaved to form α-melanocyte-stimulating hormone. After a short period of time, ACTH is cleaved into α-melanocyte-stimulating hormone and CLIP, human ACTH has a molecular weight of 4,540 atomic mass units. ACTH stimulates secretion of glucocorticoid steroid hormones from adrenal cortex cells, ACTH acts by binding to cell surface ACTH receptors, which are located primarily on adrenocortical cells of the adrenal cortex. The ACTH receptor is a seven-membrane-spanning G protein-coupled receptor, ACTH influences steroid hormone secretion by both rapid short-term mechanisms that take place within minutes and slower long-term actions. The rapid actions of ACTH include stimulation of cholesterol delivery to the mitochondria where the P450scc enzyme is located, P450scc catalyzes the first step of steroidogenesis that is cleavage of the side-chain of cholesterol. ACTH also stimulates lipoprotein uptake into cortical cells and this increases the bioavailability of cholesterol in the cells of the adrenal cortex. This effect is observed over several hours, in addition to steroidogenic enzymes, ACTH also enhances transcription of mitochondrial genes that encode for subunits of mitochondrial oxidative phosphorylation systems. These actions are necessary to supply the enhanced energy needs of adrenocortical cells stimulated by ACTH. As indicated above, ACTH is a product of the pro-hormone, proopiomelanocortin. A family of related receptors mediates the actions of these hormones and these are mainly not associated with the pituitary-adrenal axis. The functional expression of MC2R on the osteoblast was discovered by Isales et alia in 2005, since that time, it has been demonstrated that the response of bone forming cells to ACTH includes production of VEGF, as it does in the adrenal
Corticotropin
–
Reference ranges for blood tests, showing adrenocorticotropic hormone (green at left) among the hormones with smallest concentration in the blood.
34.
Philip Showalter Hench
–
Philip Showalter Hench was an American physician. The Nobel Committee bestowed the award for the trios discoveries relating to the hormones of the cortex, their structure. Hench received his education at Lafayette College in Easton, Pennsylvania, and received his medical training at the United States Army Medical Corps. He began working at Mayo Clinic in 1923, later serving as the head of the Department of Rheumatology, in addition to the Nobel Prize, Hench received many other awards and honors throughout his career. He also had a lifelong interest in the history and discovery of yellow fever and he attended Lafayette College in Easton, Pennsylvania, where he obtained his Bachelor of Arts in 1916. After serving in the Medical Corps of the U. S. Army, immediately after finishing his medical degree, Hench spent a year as an intern at St. Francis Hospital in Pittsburgh, and then he subsequently became a Fellow of the Mayo Foundation. In 1928 and 1929, Hench furthered his education at Freiburg University, Hench started his career at Mayo Clinic in 1923, working in the Department of Rheumatic Diseases. In 1926, he became the head of the department, while at Mayo Clinic, Hench focused his work on arthritic diseases, where his observations led him to hypothesize that steroids alleviated pain associated with the disease. During this same time, biochemist Edward Calvin Kendall has isolated several steroids from the adrenal gland cortex, after several years of work, the duo decided to try one of these steroids on patients afflicted by rheumatoid arthritis. Testing of the hypothesis was delayed because the synthesis of Compound E was costly and time-consuming, the tests were conducted successfully in 1948 and 1949. As of the 2010 prizes, Hench and Kendall are the only two Nobel laureates affiliated with Mayo Clinic, during his career, Hench was one of the founding members of the American Rheumatism Association, and served as its president in 1940 and 1941. In addition to the Nobel Prize, Hench has been awarded the Heberdeen Medal, the Lasker Award, the Passano Foundation Award, Lafayette College, Washington and Jefferson College, Western Reserve University, the National University of Ireland and the University of Pittsburgh awarded Hench honorary doctorates. In addition to his work with cortisone, Hench had a long interest in yellow fever. Starting in 1937, Hench began to document the history behind the discovery of yellow fever and his collection of documents on this subject are at the University of Virginia in the Philip S. Hench Walter Reed Yellow Fever Collection. His wife donated the collection to the university after his death, Hench married Mary Kahler in 1927. His father-in-law, John Henry Kahler, was a friend of Mayo Clinic founder William J. Mayo, Hench and his wife had four children, two daughters and two sons. His son, Philip Kahler Hench also studied rheumatology, Hench died of pneumonia while on vacation in Ocho Rios, Jamaica in 1965. Nobel Biography Biography University of Virginia Health Sciences Library, A Guide to the Philip S. Hench Walter Reed Yellow Fever Collection
Philip Showalter Hench
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Philip Showalter Hench
35.
Venice Biennale
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The Venice Biennale is an arts organization based in Venice, and also the original and principal exhibition it organizes. The organization changed its name to the Biennale Foundation in 2009, while the exhibition is called the Art Biennale to distinguish it from the organisation. The Art Biennale, a visual art exhibition, is so called as it is held biennially. A year later, the council decreed to adopt a by invitation system, to reserve a section of the Exhibition for foreign artists too, to works by uninvited Italian artists. The first Biennale, I Esposizione Internazionale dArte della Città di Venezia was opened on April 30,1895 by the Italian King and Queen, Umberto I, the first exhibition was seen by 224,000 visitors. In 1910 the first internationally well-known artists were displayed- a room dedicated to Gustav Klimt, a show for Renoir. A work by Picasso was removed from the Spanish salon in the central Palazzo because it was feared that its novelty might shock the public, by 1914 seven pavilions had been established, Belgium, Hungary, Germany, Great Britain, France, and Russia. During World War I, the 1916 and 1918 events were cancelled, in 1920 the post of mayor of Venice and president of the Biennale was split. The new secretary general, Vittorio Pica brought about the first presence of avant-garde art,1922 saw an exhibition of sculpture by African artists. Between the two World Wars, many important modern artists had their work exhibited there, in 1928 the Istituto Storico dArte Contemporanea opened, which was the first nucleus of archival collections of the Biennale. In 1930 its name was changed into Historical Archive of Contemporary Art, in 1933 the Biennale organised an exhibition of Italian art abroad. From 1938, Grand Prizes were awarded in the art exhibition section, during World War II, the activities of the Biennale were interrupted,1942 saw the last edition of the events. The Film Festival restarted in 1946, the Music and Theatre festivals were resumed in 1947, the Art Biennale was resumed in 1948 with a major exhibition of a recapitulatory nature. Peggy Guggenheim was invited to exhibit her famous New York collection,1949 saw the beginning of renewed attention to avant-garde movements in European—and later worldwide—movements in contemporary art. Abstract expressionism was introduced in the 1950s, and the Biennale is credited with importing Pop Art into the canon of art history by awarding the top prize to Robert Rauschenberg in 1964. From 1948 to 1972, Italian architect Carlo Scarpa did a series of interventions in the Biennales exhibition spaces. In 1954 the island San Giorgio Maggiore provided the venue for the first Japanese Noh theatre shows in Europe,1956 saw the selection of films following an artistic selection and no longer based upon the designation of the participating country. The 1957 Golden Lion went to Satyajit Rays Aparajito which introduced Indian cinema to the West,1962 included Arte Informale at the Art Exhibition with Jean Fautrier, Hans Hartung, Emilio Vedova, and Pietro Consagra
Venice Biennale
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The 65th
Venice International Film Festival. The
Golden Lion is awarded to the best film screened in competition at the festival.
Venice Biennale
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Detail of exhibition.
Venice Biennale
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Biennalist Giardini Main Entrance
Venice Biennale
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View of "Pump Room", a work by the Hungarian artist Balázs Kicsiny at the Venice Biennale in 2005.
36.
Cimiez
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Cimiez is a neighborhood in Nice, southern France. The area contains the Musée Matisse and the ruins of Cemenelum, Cemenelum was an important rival of Nice, continuing to exist as a separate city till the time of the Lombard invasions. The ruins include an arena, amphitheatre, thermal baths, for many years, the Nice Jazz Festival was held on the grounds of the Roman Ruins in July each year. Close to the ruins is the splendid Excelsior Régina Palace where Queen Victoria spent part of her visits to the French Riviera. Also here can be found the Cimiez Monastery and church that have used by the Franciscan monks since the 16th century. The church houses the Pietà, Crucifixion and Deposition, by the Italian medieval artist Ludovico Brea, on display are also more than 300 documents and works of art from the 15th to 18th centuries. Buried in the cemetery near the monastery are the painters Henri Matisse and Raoul Dufy plus the winner of the 1937 Nobel Prize for Literature, Alpes Maritimae Bishopric of Cimiez Matisse Museum Nice jazz festival Cimiez was also the place of famous feasts, “of the small gourds”
Cimiez
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Cimiez Monastery.
37.
Nice, France
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Nice is the fifth most populous city in France and the capital of the Alpes-Maritimes département. The urban area of Nice extends beyond the city limits. Nice is about 13 kilometres from the principality of Monaco, the city is nicknamed Nice la Belle, which means Nice the Beautiful, which is also the title of the unofficial anthem of Nice, written by Menica Rondelly in 1912. The area of todays Nice contains Terra Amata, a site which displays evidence of a very early use of fire. Around 350 BC, Greeks of Marseille founded a permanent settlement and called it Nikaia, after Nike, through the ages, the town has changed hands many times. Its strategic location and port significantly contributed to its maritime strength, for centuries it was a dominion of Savoy, and was then part of France between 1792 and 1815, when it was returned to Piedmont-Sardinia until its re-annexation by France in 1860. The citys main seaside promenade, the Promenade des Anglais owes its name to visitors to the resort, for decades now, the picturesque Nicean surroundings have attracted not only those in search of relaxation, but also those seeking inspiration. The clear air and soft light have particularly appealed to some of Western cultures most outstanding painters, such as Marc Chagall, Henri Matisse, Niki de Saint Phalle and Arman. Their work is commemorated in many of the museums, including Musée Marc Chagall, Musée Matisse. Nice has the second largest hotel capacity in the country and it is one of its most visited cities and it also has the third busiest airport in France, after the two main Parisian ones. It is the capital city of the County of Nice. Nice was probably founded around 350 BC by the Greeks of Massalia, the ruins of Cemenelum are in Cimiez, now a district of Nice. In the 7th century, Nice joined the Genoese League formed by the towns of Liguria. In 729 the city repulsed the Saracens, but in 859 and again in 880 the Saracens pillaged and burned it, during the Middle Ages, Nice participated in the wars and history of Italy. As an ally of Pisa it was the enemy of Genoa, during the 13th and 14th centuries the city fell more than once into the hands of the Counts of Provence, but it regained its independence even though related to Genoa. The medieval city walls surrounded the Old Town, the landward side was protected by the River Paillon, which was later covered over and is now the tram route towards the Acropolis. The east side of the town was protected by fortifications on Castle Hill, another river flowed into the port on the east side of Castle Hill. Engravings suggest that the area was also defended by walls
Nice, France
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Nice Port
Nice, France
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Nice in the time of the
Roman Empire.
Nice, France
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The Tower of Saint François
Nice, France
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Nice in 1624
38.
Van Abbemuseum
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Van Abbemuseum is a museum of modern and contemporary art located in central Eindhoven, Netherlands, on the east bank of the Dommel river. Established in 1936, the Abbe Museum is named after its founder, Van Abbe was a lover of modern art and wanted to enjoy it there from Eindhoven. As of 2010, the collection of the houses more than 2700 works of art, of which about 1000 are on paper, are 700 paintings. With an area of 9,825 m2, monument number 507030 and it also has works by Pablo Picasso and Wassily Kandinsky. The museums original collection was bought by Eindhoven city council in 1934 in an agreement with Henri van Abbe, in return for buying some of his collection, the Van Abbe factory paid for and donated the museum building to house the collection which opened in 1936. The city had architect Alexander Kropholler design a building which is a suite of galleries in traditionalist style. The museum name was given on publications as Stedelijk Van Abbemuseum up until about 1990 and as Van Abbemuseum after that time. As the building had far too small for modern demands. The original collection contained works by Jan Sluijters, Carel Willink and Isaac Israëls amongst others, mostly Dutch, the museum also bought other artworks from founder Henri van Abbe before his death in 1940. The collection developed most under the directorships of Edy de Wilde, while De Wilde bought the classical modernist works by Picasso etc. Fuchs bought works from artists of his own generation, in particular conceptual work from the USA, more recent acquisitions include pieces by Pablo Picasso, Wassily Kandinsky and Piet Mondrian. The museum is internationally renowned for having one of the largest collections of works by El Lissitzky. The Van Abbemuseum also houses the collection of posters made by the Situationist Jacqueline de Jong in Paris during May 1968, charles Esche is the director of the Van Abbemuseum. The museum had 96,750 visitors in 2011 and 98,100 visitors in 2012
Van Abbemuseum
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Front of the Van Abbemuseum in Eindhoven. View to the northwest, with the
City Hall (far left).
Van Abbemuseum
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The new extension. View to the southeast, with the City Hall (background right).
Van Abbemuseum
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See-through five floors of the building.
Van Abbemuseum
39.
Museum de Fundatie
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Museum de Fundatie is a museum for the visual arts in Zwolle. Museum de Fundatie forms part of the Hannema-de Stuers Foundation, to which Kasteel het Nijenhuis in Heino also belongs, as well as the permanent collection, Museum de Fundatie organises new, wide-ranging exhibitions every three months. Museum de Fundatie recorded a number of 310,000 visitors in 2015. Museum de Fundatie was founded in 1958 and its original location is Kasteel Het Nijenhuis, a 17th-century castle near the villages of Heino and Wijhe, which was the residence of museum founder Dirk Hannema. From 1991 until 2005, the Bergkerk, a church in the city of Deventer, was the secondary location of the museum used for temporary exhibitions. Since 2005, the Paleis aan de Blijmarkt, a court building in the city of Zwolle, is the second location of the museum. The location in Zwolle was closed for renovation on 8 January 2012, the museums collection is divided over two locations, Designed by Eduard Louis de Coninck of The Hague, this former Palace of Justice was built in the neo-classicist style between 1838 and 1841. The court building was revamped by architect Arne Mastenbroek during the nineteen eighties to serve as the new office for the national planning service’s information department. Mastenbroek’s second renovation in 1994 saw the palace become a fully fledged museum, between 1994 and 2001, the building accommodated the Museum for Naive and Outsider Art. In 2004-2005, the court house was renovated by architect Gunnar Daan to offer space for Museum de Fundatie. The museum was expanded in 2012-2013 with the addition of new space on the roof of the existing building. This egg-shaped extension was designed by Bierman Henket architects, built in the 14th century, Het Nijenhuis manor is situated near the village of Heino. Officially however, it lies within the municipality of Olst-Wijhe, the building belongs to the Province of Overijssel and Dirk Hannema lived here from 1958 until his death in 1984. Art collector Hannema was, among other things, the director of Museum Boijmans Van Beuningen and he left his collection to the Hannema-de Stuers Foundation and therefore to Museum De Fundatie. Het Nijenhuis was opened to the public after restoration in 2004, the sculpture garden surrounding the manor is one of the Netherlands’ larger ones. The garden displays more than ninety 20th and 21st century sculptures, the museum collection is originally based on the eclectic art collection of Dirk Hannema, former museum director of Museum Boijmans Van Beuningen in Rotterdam. Since 1993, the collection of the Province of Overijssel is also managed by the museum, the collection contains over 7,000 paintings, drawings, prints, sculptures, and other objects. In 2010, the Van Gogh painting The blute-fin mill was authenticated by the Van Gogh Museum, waanders/Museum de Fundatie, Zwolle/Heino etc.160 p. ISBN 90-400-8990-6
Museum de Fundatie
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Paleis aan de Blijmarkt, the museum location in Zwolle, in 2013
Museum de Fundatie
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Museum location in
Zwolle in the province
Overijssel
Museum de Fundatie
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Kasteel Het Nijenhuis in Heino/Wijhe in 2010
Museum de Fundatie
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Interior of the
Bergkerk in Deventer in 2002
40.
Zwolle
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Zwolle is the capital city and municipality of the province of Overijssel, Netherlands. It has a population around 125,000, archaeological findings indicate that the area surrounding Zwolle has been inhabited for a long time. A woodhenge that was found in the Zwolle-Zuid suburb in 1993 was dated to the Bronze Age period, during the Roman era, the area was inhabited by Salian Franks. The modern city was founded around 800 CE by Frisian merchants, the name Zwolle is derived from the word Suolle, which means hill. This refers to an incline in the landscape between the four rivers surrounding the city, IJssel, Vecht, Aa and Zwarte Water, the hill was the only piece of land that would remain dry during the frequent floodings of the rivers. Zwolle was established on that incline, a document mentions the existence of a parish church dedicated to St Michael. That church, the Grote or Sint Michaëlskerk, was renovated in the first half of the 15th century, the church contains a richly carved pulpit, the work of Adam Straes van Weilborch, some good carving and an exquisite organ. On August 31,1230, the bishop of Utrecht granted Zwolle city rights, Zwolle became a member of the Hanseatic league in 1294, and in 1361 joined the war between the Hanseatic League and Valdemar IV of Denmark. In the 1370 Treaty of Stralsund that ended the war, Zwolle was awarded a vitte, zwolles golden age came in the 15th century. Between 1402 and 1450, the citys Gross Regional Product multiplied by about six, in July 1324 and October 1361, regional noblemen set fire to Zwolle. In the 1324 fire, only nine buildings escaped the flames, Zwolle was also, with Deventer, one of the centers of the Brethren of the Common Life, a monastic movement. 5 km from Zwolle, on an eminence called the Agnietenberg, once stood the Augustinian convent in which Thomas à Kempis spent the greatest part of his life. At least as early as 1911, Zwolle had a trade by river, a large fish market. The more important industries comprised cotton manufactures, iron works, boat-building, dyeing and bleaching, tanning, rope-making, in World War II, Zwolle was single-handedly liberated from the Germans by Canadian soldier Léo Major. He was made a citizen of Zwolle in 2005 and a street is named for him. Citizens of Zwolle are colloquially known as Blauwvingers and this dates back to 1682, when the St Michaels church tower collapsed. The authorities were strapped for cash and saw no option but to sell the church bells to neighbouring city Kampen, to make sure that Kampen would not make too much profit from the deal, the local authorities asked a high price for the church bells. Kampen accepted, yet after the arrival of the bells it became clear, in revenge, Kampen paid in copper coins of four duiten
Zwolle
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Zwolle city centre
Zwolle
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Dutch Topographic map of Zwolle (city), Sept. 2014
Zwolle
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Map of Zwolle by
Joan Blaeu in Blaeu's "Toonneel der Steden", 1652
Zwolle
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Librije
41.
McNay Art Museum
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The McNay Art Museum, founded in 1954 in San Antonio, is the first modern art museum in the U. S. State of Texas. McNay was an American painter and art teacher who inherited a substantial oil fortune upon the death of her father, the museum was named after her, and has been expanded to include galleries of medieval and Renaissance artwork and a larger collection of 20th-century European and American modernist work. She built a home in 1927 designed by Atlee Ayres and his son Robert M. Ayres, upon her death, the house was bequeathed to the City of San Antonio to house the museum. The collection today consists of over 20,000 objects and is one of the finest collections of Contemporary Art and Sculpture in the Southwestern United States. The museum also is home to the Tobin Collection of Theatre Arts, which is one of the collections of its kind in the U. S. More recently, the McNay Art Museum recently added the Stieren Center, built by renowned architect Jean-Paul Viguier
McNay Art Museum
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Entrance to the original McNay home and museum.
42.
Art Gallery of Ontario
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The Art Gallery of Ontario is an art museum in Toronto, Ontario, Canada. Its collection includes more than 80,000 works spanning the first century to the present day, the gallery has 45,000 square metres of physical space, making it one of the largest galleries in North America. The photography collection is a part of the collection, as well as an extensive drawing. During the AGOs history, it has hosted and organized some of the worlds most renowned and significant exhibitions, and continues to do so, to this day. Since 1974, the gallery has four major expansions and renovations, typically considered a high number and unseen by most galleries of the world. The most recent are the Weston Family Learning Centre, which opened in October 2011, and the David Milne Research Centre, both projects were designed by Hariri Pontarini Architects. Earlier major renovations were designed by noted architects John C, parkin, Barton Myers and KPMB Architects, and most recently, Frank Gehry. The gallery is located in the Downtown Grange Park district, on Dundas Street West between McCaul and Beverley Streets, the Art Gallery of Ontario is the second most visited art museum in Toronto after the Royal Ontario Museum in 2014. The museum was founded in 1900 by a group of citizens, members of the Ontario Society of Artists. The Legislative Assembly of Ontario subsequently enacted An Act respecting the Art Museum of Toronto in 1903, the museum was renamed the Art Gallery of Toronto in 1919, and subsequently the Art Gallery of Ontario in 1966. The current location of the AGO dates to 1910, when Goldwin Smith bequeathed his historic 1817 Georgian manor, in 1911, the museum leased lands to the south of the manor to the City of Toronto in perpetuity so as to create Grange Park. In 1920, the museum allowed the Ontario College of Art to construct a building on the grounds. The museums first formal exhibitions opened in the Grange in 1913, in 1916, the museum drafted plans to construct a small portion of a new gallery building. Designed by Pearson and Darling in the Beaux-Arts style, excavation of the new facility began in 1916, expansion throughout the 20th century added various galleries, culminating in 1993, which left the AGO with 38,400 square metres of interior space. The AGO was and continues to be a supporter of local arts, which have included shows for the Group of Seven, Betty Goodwin, David Milne. As the institution and its collections grew, major benefactors included Henry Moore, Betty Goodwin, David Blackwood, laidlaw, Joey Tanenbaum, George Weston, Frank Porter Wood, Edward Rogers Wood, Ayala Zacks, Ken Thomson, the Massey family, and the Eaton family. Under the direction of its CEO Matthew Teitelbaum, the AGO embarked on a $254 million redevelopment plan by architect Frank Gehry in 2004, the new addition would require demolition of the 1992 Post-Modernist wing by Barton Myers and Kuwabara Payne McKenna Blumberg Architects. Although Gehry was born in Toronto, and as a child had lived in the neighbourhood as the AGO
Art Gallery of Ontario
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Art Gallery of Ontario
Art Gallery of Ontario
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A south view of the first gallery building in 1922
Art Gallery of Ontario
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The newly constructed façade of the AGO along
Dundas Street
Art Gallery of Ontario
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The titanium and glass south wing overlooking the Grange and Grange Park
43.
Private Art Collection
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A private collection is a privately owned collection of works, usually a collection of art. This source will usually be an art collector, although it could be a school, church organization, bank or other company, collectors of books, even if they collect for aesthetic reasons, are called bibliophiles, and their collections are referred to as libraries. The Royal collections of most countries were originally the grandest of private collections but are now mostly in public ownership, however the British Royal Collection remains under the care of the Crown, though distinguished from the private property of the British Royal Family. The cabinet of curiosities was an important mixed form of collection, including art and these were formed by royalty but smaller ones also by merchants and scholars. The tastes and habits of collectors have played an important part in determining what art was produced. Many types of objects, such as medals, engravings, small plaquettes, modern engraved gems, increasingly collectors tended to specialize in one or two types of work, although some, like George Salting, still had a very wide scope for their collections. The extension of serious collecting to art from all periods and places was an essentially 19th-century development, trecento paintings were little appreciated until about the 1830s, and Chinese ritual bronzes and jades until perhaps the 1920s. Collecting of African art was rare until after World War II, very famous collections that are now dispersed include the Borghese Collection and Farnese collection in Rome, and the Orleans Collection in Paris, mostly sold in London. When this happens, it can be a loss to those interested in art as the initial vision of the collector is lost. The works were displayed in the Liechtenstein Museum after nearly 60 years with most in storage. The important collection of the Thyssen family, mostly kept in the Thyssen-Bornemisza Museum, only an exhibited part, the collection of Carmen Cervera, widow of the late Baron Thyssen, remains private but exhibited separately in the museum. Many collections were left to the public in some form, and are now museums, most museums are formed around one or more formerly private collection acquired as a whole. Other collections remain complete but are merged into larger collections in museums, many other bequests or purchased collections are split up within the museums collection. Sergei Shchukin, was an important Russian art collector, mainly of French Impressionist and Post-Impressionist art and his collection is now divided between the Pushkin Museum of Fine Arts in Moscow and the State Hermitage Museum in St. Petersburg. The Charles Lang Freer Collection became an important part of The Smithsonian—the Freer Gallery of Art, when the banker Robert Lehman died in 1969, his foundation donated 2,600 works of art to the Metropolitan Museum of Art in New York. Housed in the Robert Lehman Wing, the museum refers to the collection as one of the most extraordinary private art collections ever assembled in the United States. Unlike other departments at the Met, the Robert Lehman collection does not concentrate on a style or period of art, rather. Media related to Private collections at Wikimedia Commons
Private Art Collection
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Part of the famous collection formed by
Archduke Leopold Wilhelm of Austria when
Governor of the Spanish Netherlands from 1647 to 1656.
David Teniers the Younger
Private Art Collection
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A corner of a
cabinet of curiosities, painted by
Frans II Francken in 1636, reveals the range of connoisseurship a Baroque-era
virtuoso might evince
44.
The European Library
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The European Library is an Internet service that allows access to the resources of 49 European national libraries and an increasing number of research libraries. Searching is free and delivers metadata records as well as digital objects, the objects come from institutions located in countries which are members of the Council of Europe and range from catalogue records to full-text books, magazines, journals and audio recordings. Over 200 million records are searchable, including 24 million pages of full-text content, thirty five different languages are represented among the searchable objects. The European Library ceases operation on 2016-12-31, the European Library of today has evolved from a number of earlier projects. Its starting point was in 1997 when the GABRIEL project set out to establish a joint web portal of European national libraries, at a basic level, the portal provided information about each librarys collections and access to their online public access catalogues. GABRIEL was followed by the TEL project, which ran from 2001–2004 and created a framework for access to key national, the project was part-funded under the Fifth Framework Programme of the European Commission. The national libraries involved in the TEL project were those of Finland, Germany, Italy, Italy, Netherlands, Portugal, Slovenia, Switzerland and this led to the launch of TheEuropeanLibrary. org portal on 17 March 2005. Between 2005–2007, the TEL-ME-MOR project helped to incorporate 10 more national libraries from new European Union member states as full partners of The European Library. By the beginning of 2008, a further nine national libraries within the European Union, the European Library took a further step towards its enlargement with the EDLproject, during which national libraries continued to join The European Library. The project also focused on multilingualism, undertook the first steps towards a European Metadata Registry, work began on a prototype in 2007 and Europeana was launched in November 2008. Europeana now operates independently but The European Library continues to work closely with Europeana, the European Library is the aggregator of digital content from national libraries for Europeana and delivers digital content from national libraries on a monthly basis to Europeana. As of July 2012, The European Library was the second biggest content provider to Europeana, some human and technical resources are also shared between Europeana and The European Library. In addition to its engine, The European Library pulls together themes from the collections of Europes national libraries. These exhibitions unite geographically disparate objects in an online space. Travelling Through History, Centuries worth of memorabilia from 13 European libraries, including photographs, sounds, maps. Reading Europe, Almost 1,000 books selected by national libraries, with curatorial information, a Roma Journey, Texts, photographs, paintings and recordings of traditional songs showing the heritage of the Romani people in Europe. Napoleonic Wars, A selection of portraits, military maps, city plans, letters, books, treasures of Europes National Libraries, A collection of objects selected by Europes national libraries as some of the most outstanding items in their collections. National Library Buildings, Images of the National Libraries that are partners of The European Library, the European Library is financed by its owners, the Conference of European National Librarians
The European Library
–
The European Library
45.
Jean Cocteau
–
Jean Maurice Eugène Clément Cocteau was a French writer, designer, playwright, artist and filmmaker. Cocteau is best known for his novel Les Enfants Terribles, and the films Blood of a Poet, Les Parents Terribles, Beauty and the Beast and Orpheus. Cocteau was born in Maisons-Laffitte, Yvelines, a town near Paris, to Georges Cocteau and his wife, Eugénie Lecomte and his father was a lawyer and amateur painter who committed suicide when Cocteau was nine. From 1900–1904, Cocteau attended the Lycée Condorcet where he met and he published his first volume of poems, Aladdins Lamp, at nineteen. Cocteau soon became known in Bohemian artistic circles as The Frivolous Prince, edith Wharton described him as a man to whom every great line of poetry was a sunrise, every sunset the foundation of the Heavenly City. In his early twenties, Cocteau became associated with the writers Marcel Proust, André Gide, in 1912, he collaborated with Léon Bakst on Le Dieu bleu for the Ballets Russes, the principal dancers being Tamara Karsavina and Vaslav Nijinsky. During World War I Cocteau served in the Red Cross as an ambulance driver and this was the period in which he met the poet Guillaume Apollinaire, artists Pablo Picasso and Amedeo Modigliani, and numerous other writers and artists with whom he later collaborated. Russian impresario Sergei Diaghilev persuaded Cocteau to write a scenario for a ballet and it was produced by Diaghilev, with sets by Picasso, the libretto by Apollinaire and the music by Erik Satie. The piece was expanded into a full opera, with music by Satie, Francis Poulenc. If it had not been for Apollinaire in uniform, wrote Cocteau, with his skull shaved, the scar on his temple and he denied being a Surrealist or being in any way attached to the movement. Cocteau wrote the libretto for Igor Stravinskys opera-oratorio Oedipus rex, which had its performance in the Théâtre Sarah Bernhardt in Paris on 30 May 1927. An important exponent of avant-garde art, Cocteau had great influence on the work of others, in the early twenties, he and other members of Les six frequented a wildly popular bar named Le Boeuf sur le Toit, a name that Cocteau himself had a hand in picking. The popularity was due in no small measure to the presence of Cocteau, in 1918 he met the French poet Raymond Radiguet. They collaborated extensively, socialized, and undertook many journeys and vacations together, Cocteau also got Radiguet exempted from military service. Some contemporaries and later commentators thought there might have been a component to their friendship. Cocteau himself was aware of this perception, and worked earnestly to dispel the notion that their relationship was sexual in nature, there is disagreement over Cocteaus reaction to Radiguets sudden death in 1923, with some claiming that it left him stunned, despondent and prey to opium addiction. Opponents of that point out that he did not attend the funeral. Cocteau himself much later characterised his reaction as one of stupor and his opium addiction at the time, Cocteau said, was only coincidental, due to a chance meeting with Louis Laloy, the administrator of the Monte Carlo Opera
Jean Cocteau
–
Jean Cocteau in 1923
Jean Cocteau
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Amedeo Modigliani, Jean Cocteau, 1916,
Henry and Rose Pearlman Collection, on long-term loan to the
Princeton University Art Museum
Jean Cocteau
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Portrait of Jean Cocteau by Federico de Madrazo de Ochoa, ca. 1910-1912
Jean Cocteau
–
Marie Laurencin, Portrait de Jean Cocteau, 1921
46.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
International Standard Book Number
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A 13-digit ISBN, 978-3-16-148410-0, as represented by an
EAN-13 bar code
47.
Arts Council of Great Britain
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The Arts Council of Great Britain was a non-departmental public body dedicated to the promotion of the fine arts in Great Britain. The Arts Council of Great Britain was divided in 1994 to form the Arts Council of England, the Scottish Arts Council, at the same time the National Lottery was established and these three arts councils, plus the Arts Council of Northern Ireland, became distribution bodies. In 1940, during the Second World War, the Council for the Encouragement of Music, chaired by Lord De La Warr, President of the Board of Education, the Council was government-funded and after the war was renamed the Arts Council of Great Britain. A Royal Charter was granted on 9 August 1946, followed by another in 1967, the Councils first Chairman was John Maynard Keynes who used his influence in Government to secure a high level of funding despite Britains poor finances following the war. The majority of funding was directed to organisations with which Keynes had close ties such as the Royal Opera House and was restricted to Central London. After Keynes death Government funding was reduced but the Arts Council received wide recognition for its contribution to the Festival of Britain thanks to the new Chairman Kenneth Clark, artworks commissioned by the Council for the Festival were retained to form the basis of the Arts Council Collection. The Arts Council commissioned 12 sculptors and 60 painters, who made paintings,114 by 152 centimetres or more. Ultimately the works were to be given to new hospitals, libraries, schools, under the Harold Wilson Government of 1964-70 the Arts Council enjoyed a Golden Age thanks to the close relationship between Chairman Arnold Goodman and the Arts Minister Jennie Lee. This period saw the Council establish a network of organisations across the country as regular client organisations. Since 1987, the gallery has been managed by the South Bank Centre. In 2003 sculpture in the Collection was moved to a base in Yorkshire, during the 1970s and 1980s the Arts Council came under attack for being elitist and politically biased, in particular from the prominent Conservative Party minister Norman Tebbit. The Government grant to the Council was capped effecting a real reduction in funding though it was argued that any shortfall would be made up by increased sponsorship from the private sector. The Secretary-General from 1975–83, Roy Shaw, the last secretary-General to be knighted, faced the task of reconciling the needs of arts organisations with the restricted funding. William Rees-Mogg was an appointment as Chairman and proposed slimming down the Councils responsibilities. This led to a series of clashes with prominent figures from the Arts such as Peter Hall who resigned from the Council in protest, in 1987 the restructure inspired by Rees-Mogg cut by half the number of organisations receiving Arts Council funding. During the same period the Arts Council began encouraging a greater level of sponsorship for the arts. The Arts Council of Great Britain was divided in 1994 to form the Arts Council of England, Scottish Arts Council, at the same time the National Lottery was established and the Arts Council of England became one of the distribution bodies
Arts Council of Great Britain
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Dancers from the
Ballet Rambert, under the auspices of CEMA perform
Peter and The Wolf at an aircraft factory in the Midlands during World War II
48.
International Standard Serial Number
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An International Standard Serial Number is an eight-digit serial number used to uniquely identify a serial publication. The ISSN is especially helpful in distinguishing between serials with the same title, ISSN are used in ordering, cataloging, interlibrary loans, and other practices in connection with serial literature. The ISSN system was first drafted as an International Organization for Standardization international standard in 1971, ISO subcommittee TC 46/SC9 is responsible for maintaining the standard. When a serial with the content is published in more than one media type. For example, many serials are published both in print and electronic media, the ISSN system refers to these types as print ISSN and electronic ISSN, respectively. The format of the ISSN is an eight digit code, divided by a hyphen into two four-digit numbers, as an integer number, it can be represented by the first seven digits. The last code digit, which may be 0-9 or an X, is a check digit. Formally, the form of the ISSN code can be expressed as follows, NNNN-NNNC where N is in the set, a digit character. The ISSN of the journal Hearing Research, for example, is 0378-5955, where the final 5 is the check digit, for calculations, an upper case X in the check digit position indicates a check digit of 10. To confirm the check digit, calculate the sum of all eight digits of the ISSN multiplied by its position in the number, the modulus 11 of the sum must be 0. There is an online ISSN checker that can validate an ISSN, ISSN codes are assigned by a network of ISSN National Centres, usually located at national libraries and coordinated by the ISSN International Centre based in Paris. The International Centre is an organization created in 1974 through an agreement between UNESCO and the French government. The International Centre maintains a database of all ISSNs assigned worldwide, at the end of 2016, the ISSN Register contained records for 1,943,572 items. ISSN and ISBN codes are similar in concept, where ISBNs are assigned to individual books, an ISBN might be assigned for particular issues of a serial, in addition to the ISSN code for the serial as a whole. An ISSN, unlike the ISBN code, is an identifier associated with a serial title. For this reason a new ISSN is assigned to a serial each time it undergoes a major title change, separate ISSNs are needed for serials in different media. Thus, the print and electronic versions of a serial need separate ISSNs. Also, a CD-ROM version and a web version of a serial require different ISSNs since two different media are involved, however, the same ISSN can be used for different file formats of the same online serial
International Standard Serial Number
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ISSN encoded in an EAN-13 barcode with sequence variant 0 and issue number 5
49.
Jean Marchand (painter)
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Jean Hippolyte Marchand was a French cubist painter, printmaker and illustrator with an association with figures of the Bloomsbury Group. Marchand was born in Paris and studied at the École des Beaux-Arts under Léon Bonnat from 1902 through 1906 and this led to a kind of adoption of Marchand by the Bloomsbury circle, and his work was bought by the important British collector Samuel Courtauld. The painter exhibited at the Salon dAutomne, the Salon des Indépendants, Marchand also produced woodcut illustrations for Paul Claudels book, Le Chemin de la Croix, and for Paul Valerys Le Serpent in 1927. He was married to painter and printmaker Sonia Lewitska
Jean Marchand (painter)
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Self-portrait (Jean Marchand)
Jean Marchand (painter)
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La Source c.1911
Jean Marchand (painter)
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La sieste d'
Henriette Tirman
Jean Marchand (painter)
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Paul Signac c.1930
50.
Paul Signac
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Paul Victor Jules Signac was a French Neo-Impressionist painter who, working with Georges Seurat, helped develop the Pointillist style. Paul Signac was born in Paris on 11 November 1863 and he followed a course of training in architecture before deciding at the age of 18 to pursue a career as a painter after attending an exhibit of Monets work. He sailed around the coasts of Europe, painting the landscapes he encountered and he also painted a series of watercolors of French harbor cities in later years. In 1884 he met Claude Monet and Georges Seurat, many of Signacs paintings are of the French coast. He loved to paint the water and he left the capital each summer, to stay in the south of France in the village of Collioure or at St. Tropez, where he bought a house and invited his friends. Paul Signac, Albert Dubois-Pillet, Odilon Redon and Georges Seurat were among the founders of the Société des Artistes Indépendants, the association began in Paris 29 July 1884 with the organization of massive exhibitions, with the device No jury nor awards. The purpose of Société des Artistes Indépendants—based on the principle of abolishing admission jury—is to allow the artists to present their works to public judgement with complete freedom, for the following three decades their annual exhibitions set the trends in art of the early 20th century. At the 1905 Salon des Indépendants, Henri Matisse exhibited the proto-Fauve painting Luxe, Signac purchased the work after the 1905 Salon des Indépendants. In 1908 Signac was elected president of the 24th Salon des Indépendants, in 1886 Signac met Vincent van Gogh in Paris. In 1887 the two regularly went to Asnières-sur-Seine together, where they painted such subjects as river landscapes. Initially, Van Gogh chiefly admired Signac’s loose painting technique, in March 1889, Signac visited Van Gogh at Arles. The next year he made a trip to Italy, seeing Genoa, Florence. In 1888, Signac discovered anarchist ideas by reading Elisee Reclus, Kropotkin and Jean Grave, with his friends Angrand Cross, Maximilien Luce and Camille Pissarro he contributed to Jean Grave’s paper Les Temps Nouveaux. His financial support was considerable, he sent regular cheques and made a gift of his works for five lotteries between 1895 and 1912, from his various ports of call, Signac brought back vibrant, colorful watercolors, sketched rapidly from nature. From these sketches, he painted large canvases that are carefully worked out in small, mosaic-like squares of color, quite different from the tiny. Signac himself experimented with various media, as well as oil paintings and watercolors he made etchings, lithographs, and many pen-and-ink sketches composed of small, laborious dots. The Neo-Impressionists influenced the next generation, Signac inspired Henri Matisse and André Derain in particular, as president of the Société des Artistes Indépendants from 1908 until his death, Signac encouraged younger artists by exhibiting the controversial works of the Fauves and the Cubists. Signac served as a juror with Florence Meyer Blumenthal in awarding the Prix Blumenthal, in September 1913, Signac rented a house at Antibes, where he settled with Jeanne Selmersheim-Desgrange, who gave birth to their daughter Ginette on 2 October 1913
Paul Signac
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Paul Signac with his palette, ca. 1883
Paul Signac
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Paul Signac, Portrait of
Félix Fénéon, 1890, oil on canvas, 73.5 × 92.5 cm (28.9 × 36.4 in),
Museum of Modern Art, New York
Paul Signac
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Georges Seurat Portrait of Paul Signac, 1890,
conté crayon, private collection
Paul Signac
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In the Time of Harmony. The Golden Age is not in the Past, it is in the Future, 1893-95, oil on canvas, 310 x 410 cm (122 × 161.4 in), Mairie de Montreuil
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