1.
Montpellier
–
Montpellier is a city in southern France. It is the capital of the Hérault department, Montpellier is the 8th largest city of France, and is also the fastest growing city in the country over the past 25 years. Nearly one third of the population are students from three universities and from three higher education institutions that are outside the university framework in the city. Located on the south coast of France on the Mediterranean Sea, it is the third-largest French city on the Mediterranean coast after Marseille and Nice. Montpellier is one of the few cities in France without any Roman heritage. In the Early Middle Ages, the episcopal town of Maguelone was the major settlement in the area. Montpellier, first mentioned in a document of 985, was founded under a feudal dynasty, the Guilhem. The two surviving towers of the city walls, the Tour des Pins and the Tour de la Babotte, were built later, william VIII of Montpellier gave freedom for all to teach medicine in Montpellier in 1180. This era marked the point of Montpelliers prominence. The city became a possession of the Kings of Aragon in 1204 by the marriage of Peter II of Aragon with Marie of Montpellier, who was given the city and its dependencies as part of her dowry. Montpellier gained a charter in 1204 when Peter and Marie confirmed the traditional freedoms. Under the Kings of Aragon, Montpellier became an important city, a major economic centre. It was the second or third most important city of France at that time, with its importance steadily increasing, the city finally gained a bishop, who moved from Maguelone in 1536, and the huge monastery chapel became a cathedral. In 1432, Jacques Cœur established himself in the city and it became an important economic centre, at the time of the Reformation in the 16th century, many of the inhabitants of Montpellier became Protestants and the city became a stronghold of Protestant resistance to the Catholic French crown. In 1622, King Louis XIII besieged the city surrendered after a two months siege, afterwards building the Citadel of Montpellier to secure it. Louis XIV made Montpellier capital of Bas Languedoc, and the town started to embellish itself, by building the Promenade du Peyrou, the Esplanade, after the French Revolution, the city became the capital of the much smaller Hérault. During the 19th century the city developed into an industrial centre, in the 1960s, its population grew dramatically after French settlers in Algeria were resettled in the city following Algerias independence from France. In the 1980s and 1990s, the city drew attention with a number of redevelopment projects, such as the Corum
Montpellier
–
Top to bottom, left to right: L'aqueduc Saint-Clément, la Place de l'Europe, la
Place de la Comédie, l'hôtel de région, la promenade du Peyrou, le
Corum, l'arc de Triomphe, la
cathédrale Saint Pierre.
Montpellier
–
Rue Foch with its typical 19th-century architecture.
Montpellier
–
Montpellier seen from Spot satellite
Montpellier
–
Celleneuve
2.
Painting
–
Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
Painting
–
The
Mona Lisa, by
Leonardo da Vinci, is one of the most recognizable paintings in the world.
Painting
–
Chen Hongshou (1598–1652), Leaf album painting (
Ming Dynasty)
Painting
–
Circus Sideshow (
French: Parade de cirque),
Georges Seurat, 1887–88
Painting
–
Cave painting of aurochs, (
French: Bos primigenius primigenius),
Lascaux,
France,
prehistoric art
3.
Divisionism
–
Divisionism was the characteristic style in Neo-Impressionist painting defined by the separation of colors into individual dots or patches which interacted optically. By requiring the viewer to combine the colors optically instead of mixing pigments, Divisionists believed they were achieving the maximum luminosity scientifically possible. Georges Seurat founded the style around 1884 as chromoluminarism, drawing from his understanding of the theories of Michel Eugène Chevreul, Ogden Rood and Charles Blanc. Divisionism developed along with style, Pointillism, which is defined specifically by the use of dots of paint. Divisionism, along with the Neo-Impressionism movement as a whole, found its beginnings in Georges Seurats masterpiece, Seurat had received classical training at the École des Beaux-Arts, and, as such, his initial works reflected the Barbizon style. Mixing pigments physically is a process with cyan, magenta. On the other hand, if colored light is mixed together, an additive mixture results, the primary colors are the same. g. Direct sunlight, As appropriate, yellow-orange colors representing the sun’s action would be interspersed with the colors to emulate the effect of direct sunlight. Shadow, If lighting is indirect, various other colors, such as blues, reds and purples, can be used to simulate the darkness. Reflected light, An object which is adjacent to another in a painting could cast reflected colors onto it, Contrast, To take advantage of Chevreul’s theory of simultaneous contrast, contrasting colors might be placed in close proximity. Seurat’s theories intrigued many of his contemporaries, as other artists seeking a reaction against Impressionism joined the Neo-Impressionist movement, Paul Signac, in particular, became one of the main proponents of divisionist theory, especially after Seurat’s death in 1891. In fact, Signac’s book, D’Eugène Delacroix au Néo-Impressionnisme, published in 1899, coined the term Divisionism and became widely recognized as the manifesto of Neo-Impressionism. Additionally, through Paul Signac’s advocacy of Divisionism, an influence can be seen in some of the works of Vincent van Gogh, Henri Matisse, Jean Metzinger, Robert Delaunay and Pablo Picasso. In 1907 Metzinger and Delaunay were singled out by the critic Louis Vauxcelles as Divisionists who used large, mosaic-like cubes to construct small, both artists had develop a new sub-style that had great significance shortly thereafter within the context of their Cubist works. Piet Mondrian, Jan Sluijters, Leo Gestel and Nico van Rijn, in the Netherlands, the Futurists later would adapt the style, in part influenced by Gino Severinis Parisian experience, into their dynamic paintings and sculpture. The influence of Seurat and Signac on some Italian painters became evident in the First Triennale in 1891 in Milan, pellizza da Volpedo applied the technique to social subjects, in this he was joined by Morbelli and Longoni. Among Pelliza’s Divisionist works were Speranze deluse and Il sole nascente and it was, however, in the subject of landscapes that divisionism found strong advocates, including Segantini, Previati, Morbelli, and Carlo Fornara. Further adherents in painting subjects were Plinio Nomellini, Rubaldo Merello, Giuseppe Cominetti, Angelo Barabino, Camillo Innocenti, Enrico Lionne
Divisionism
–
A Sunday Afternoon on the Island of La Grande Jatte
Divisionism
–
Charles Blanc ’s color wheel, which was influential in Divisionist theory
Divisionism
–
Portrait of Félix Fénéon
Divisionism
–
Self-Portrait with Felt Hat
4.
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
5.
Orphism (art)
–
The meaning of the term Orphism was elusive when it first appeared and remains to some extent vague. The Orphists were rooted in Cubism but moved toward a pure lyrical abstraction, more concerned with the expression and significance of sensation, this movement began with recognizable subjects but was rapidly absorbed by increasingly abstract structures. Orphism aimed to dispense with recognizable subject matter and to rely on form, the movement also aimed to express the ideals of Simultanism, the existence of an infinitude of interrelated states of being. The decomposition of spectral light expressed in Neo-Impressionist color theory of Paul Signac, Robert Delaunay, Albert Gleizes, and Gino Severini, all knew Henry personally. Henry would take the step in bringing emotional associational theory into the world of artistic sensation. The underlying theory behind Neo-Impressionsim would have an effect on the works produced in the coming years by the likes of Robert Delaunay. Indeed, the Neo-Impressionists had succeeded in establishing a scientific basis for their painting in the domain of color. The Cubists were to do so in both the domain of form and dynamics, and the Orphists would do so with color too, the Symbolists had used the word orphique in relation to the Greek myth of Orpheus, who they perceived as the ideal artist. Apollinaire had written a collection of quatrains in 1907 entitled Bestiaire ou cortège d’Orphée, within which Orpheus was symbolized as a poet, for both Apollinaire and the Symbolists who preceded him, Orpheus was associated with mysticism, something that would inspire artistic endeavors. The voice of light that Apollinaire mentioned in his poems was a metaphor for inner experiences, though not fully articulated in his poems, the voice of light is identified as a line that could be colored and become a painting. The Orphic metaphor thus represented the power to create new structures and color harmonies. The term Orphism was coined by poet and art critic Guillaume Apollinaire at the Salon de la Section dOr in 1912, during his lecture at the Section dOr exhibit Apollinaire presented three of Kupkas abstract works as perfect examples of pure painting, as anti-figurative as music. An Orphic painters works should convey an aesthetic pleasure, but at the same time a meaningful structure. According to Apollinaire Orphism represented a move towards a completely new art-form, kandinskys detailed theoretical essays described the correlations between color and sound. Fernand Léger and Marcel Duchamp, as they tended towards abstraction, were included as Orphists in the writings of Apollinaire. Apollinaire stayed with the Delaunays during the winter of 1912, becoming close friends, Apollinaire wrote several texts discussing their work to promote the concept of Orphism. In March 1913 Orphism was exhibited to the public at the Salon des Indépendants, and in Montjoie Apollinaire argued for the abolition of Cubism in favour of Orphism, ‘If Cubism is dead, long live Cubism. The kingdom of Orpheus is at hand and this exhibition marked a turning-point in Apollinaire’s relation with R. Delaunay, following some remarks in an argument with Umberto Boccioni about the ambiguity of the term ‘simultaneity’
Orphism (art)
–
Robert Delaunay, Simultaneous Windows on the City, 1912,
Kunsthalle Hamburg
Orphism (art)
–
František Kupka,
Katedrála (The Cathedral), 1912-13, oil on canvas, 180 x 150 cm,
Museum Kampa,
Prague,
Czech Republic
Orphism (art)
–
Robert Delaunay, Champs de Mars. La Tour rouge. 1911.
Art Institute of Chicago.
Orphism (art)
–
The last section of
La prose du Transsibérien et de la Petite Jehanne de France, 1913, a collaborative
artists' book by
Blaise Cendrars and
Sonia Delaunay-Terk.
6.
Abstract art
–
Abstract art uses a visual language of shape, form, color and line to create a composition which may exist with a degree of independence from visual references in the world. Western art had been, from the Renaissance up to the middle of the 19th century, underpinned by the logic of perspective, the arts of cultures other than the European had become accessible and showed alternative ways of describing visual experience to the artist. By the end of the 19th century many artists felt a need to create a new kind of art which would encompass the fundamental changes taking place in technology, science and philosophy. The sources from which individual artists drew their theoretical arguments were diverse, Abstract art, non-figurative art, non-objective art, and nonrepresentational art are loosely related terms. They are similar, but perhaps not of identical meaning, Abstraction indicates a departure from reality in depiction of imagery in art. This departure from accurate representation can be slight, partial, or complete, even art that aims for verisimilitude of the highest degree can be said to be abstract, at least theoretically, since perfect representation is likely to be exceedingly elusive. Artwork which takes liberties, altering for instance color and form in ways that are conspicuous, total abstraction bears no trace of any reference to anything recognizable. In geometric abstraction, for instance, one is unlikely to find references to naturalistic entities, Figurative art and total abstraction are almost mutually exclusive. But figurative and representational art often contains partial abstraction, both geometric abstraction and lyrical abstraction are often totally abstract. It is at level of visual meaning that abstract art communicates. One can enjoy the beauty of Chinese calligraphy or Islamic calligraphy without being able to read it, in Chinese painting, abstraction can be traced to the Tang dynasty painter Wang Mo, who is credited to have invented the splashed-ink painting style. While none of his paintings remain, this style is seen in some Song Dynasty Paintings. A late Song painter named Yu Jian, adept to Tiantai buddhism and his paintings show heavily misty mountains in which the shapes of the objects are barely visible and extremely simplified. This type of painting was continued by Sesshu Toyo in his later years, another instance of abstraction in Chinese painting is seen in Zhu Deruns Cosmic Circle. The painting is a reflection of the Daoist metaphysics in which chaos, in Tokugawa Japan some zen monk-painters created Enso, a circle who represents the absolute enlightenment. Usually made in one spontaneous brush stroke, it became the paradigm of the minimalist aesthetic that guided part of the zen painting, three art movements which contributed to the development of abstract art were Romanticism, Impressionism and Expressionism. Artistic independence for artists was advanced during the 19th century, patronage from the church diminished and private patronage from the public became more capable of providing a livelihood for artists. Expressionist painters explored the use of paint surface, drawing distortions and exaggerations
Abstract art
–
Wassily Kandinsky,
Kandinsky's first abstract watercolor, 1910.
Abstract art
–
Robert Delaunay, 1912–13, Le Premier Disque, 134 cm (52.7 in.), Private collection.
Abstract art
–
James McNeill Whistler,
Nocturne in Black and Gold: The Falling Rocket (1874),
Detroit Institute of Arts. A near abstraction, in 1877 Whistler sued the art critic
John Ruskin for libel after the critic condemned this painting. Ruskin accused Whistler of "ask[ing] two hundred
guineas for throwing a pot of paint in the public's face."
Abstract art
–
Henri Matisse,
The Yellow Curtain, 1915. With his
Fauvist color and drawing Matisse comes very close to pure abstraction.
7.
Sonia Delaunay
–
Her work extends to painting, textile design and stage set design. She was the first living female artist to have an exhibition at the Louvre in 1964. Her work in modern design included the concepts of abstraction, the integration of furniture, fabrics, wall coverings. Sarah Ilinitchna Stern was probably born on 14 November 1885 in Hradyzk, then Ukraine was part of the Russian Empire and her father was foreman of a nail factory. At a young age she moved to St. Petersburg, where she was cared for by her mothers brother, Henri, a successful and affluent Jewish lawyer, and his wife Anna wanted to adopt her but her mother would not allow it. Finally in 1890 she was adopted by the Terks and she assumed the name Sonia Terk and received a privileged upbringing with the Terks. They spent their summers in Finland and traveled widely in Europe introducing Sonia to art museums, when she was 16 she attended a well-regarded secondary school in St. Petersburg, where her skill at drawing was noted by her teacher. When she was 18, at her teachers suggestion, she was sent to art school in Germany where she attended the Academy of Fine Arts in Karlsruhe and she studied in Germany until 1905 when she decided to move on to Paris. When she arrived in Paris she enrolled at the Académie de La Palette in Montparnasse, unhappy with the mode of teaching, which she thought was too critical, she spent less time at the Académie and more time in galleries around Paris. During her first year in Paris she met, and in 1908 married, German art gallery owner Wilhelm Uhde. Little is known about their union, but it is assumed to have been a marriage of convenience to escape the demands of her parents, who disliked her artistic career, for her to return to Russia. Sonia gained entrance into the art world via exhibitions at Uhdes gallery and benefitted from his connections, comtesse de Rose, mother of Robert Delaunay, was a regular visitor to Uhdes gallery, sometimes accompanied by her son. Sonia met Robert Delaunay in early 1909 and they became lovers in April of that year and it was decided that she and Uhde should divorce. The divorce was finalised in August 1910, Sonia was pregnant and she and Robert married on November 15,1910. Their son Charles was born on January 18,1911 and they were supported by an allowance sent from Sonias aunt in St. Petersburg. Sonia said about Robert, In Robert Delaunay I found a poet, a poet who wrote not with words but with colours. In 1911, Sonia Delaunay made a quilt for Charless crib. This quilt was created spontaneously and uses geometry and colour, about 1911 I had the idea of making for my son, who had just been born, a blanket composed of bits of fabric like those I had seen in the houses of Ukrainian peasants
Sonia Delaunay
–
Sonia Terk, 1901
Sonia Delaunay
–
Sonia Delaunay, Rythme, 1938, oil on canvas, 182 x 149 cm,
Musée National d'Art Moderne,
Centre Pompidou, Paris
Sonia Delaunay
–
The last section of
La prose du Transsibérien et de la Petite Jehanne de France, 1913
Sonia Delaunay
–
Sonia Delaunay by
Lothar Wolleh, 1978
8.
Art movement
–
Art movements were especially important in modern art, when each consecutive movement was considered as a new avant-garde. According to theories associated with modernism and the concept of postmodernism, the period of time called modern art is posited to have changed approximately halfway through the 20th century and art made afterward is generally called contemporary art. Postmodernism in visual art begins and functions as a parallel to late modernism, the postmodern period began during late modernism, and according to some theorists postmodernism ended in the 21st century. During the period of time corresponding to modern art each movement was often considered a new avant-garde. Also during the period of time referred to as modern art movement was seen corresponding to a somewhat grandiose rethinking of all that came before it. Generally there was a commonality of visual style linking the works, postmodernist theorists posit that the idea of art movements are no longer as applicable, or no longer as discernible, as the notion of art movements had been before the postmodern era. There are many theorists however who doubt as to whether or not such an era was actually a fact, the term refers to tendencies in visual art, novel ideas and architecture, and sometimes literature. In music it is common to speak about genres and styles instead. See also cultural movement, a term with a broader connotation, as the names of many art movements use the -ism suffix, they are sometimes referred to as isms. 20th-century Western painting Art periods List of art movements Post-expressionism Western art history the-artists. org Art movements since 1900, 20th-Century Art Compiled by Dr. Witcombe, Sweet Briar College, Virginia. WebMuseum, Paris Themes index and detailed glossary of art periods
Art movement
–
History of art
Art movement
–
Jacques-Louis David,
The Coronation of Napoleon, (1806),
Musée du Louvre,
History painting
Art movement
–
Eugène Delacroix,
Liberty Leading the People 1830,
Romanticism
Art movement
–
Thomas Cole, The Course of Empire: The Savage State 1836,
Hudson River School
9.
Paul Klee
–
Paul Klee was a Swiss-German artist. His highly individual style was influenced by movements in art that included Expressionism, Cubism and he and his colleague, Russian painter Wassily Kandinsky, both taught at the Bauhaus school of art, design and architecture. His works reflect his dry humor and his sometimes childlike perspective, his personal moods and beliefs, and his musicality. First of all, the art of living, then as my ideal profession, poetry and philosophy, Paul Klee was born in Münchenbuchsee, Switzerland, as the second child of German music teacher Hans Wilhelm Klee and Swiss singer Ida Marie Klee, née Frick. His sister Mathilde was born on 28 January 1876 in Walzenhausen and their father came from Tann and studied at the Stuttgart Conservatory singing, piano, organ and violin, meeting there his future wife Ida Frick. Hans Wilhelm Klee was active as a teacher at the Bern State Seminary in Hofwil near Bern until 1931. Klee was able to develop his skills as his parents encouraged and inspired him until his death. In 1880, his family moved to Bern, where they moved 17 years later after numerous changes of residence into a house at the Kirchenfeld district. From 1886 to 1890, Klee visited primary school and received, at the age of 7 and he was so talented on violin that, aged 11, he received an invitation to play as an extraordinary member of the Bern Music Association. He stated, I didnt find the idea of going in for music creatively particularly attractive in view of the decline in the history of musical achievement. As a musician, he played and felt emotionally bound to traditional works of the eighteenth and nineteenth century, at sixteen, Klee’s landscape drawings already show considerable skill. Around 1897, Klee started his diary, which he kept until 1918, during his school years, he avidly drew in his school books, in particular drawing caricatures, and already demonstrating skill with line and volume. He barely passed his exams at the Gymnasium of Bern. With his characteristic dry wit, he wrote, After all, it’s rather difficult to achieve the exact minimum, and it involves risks. On his own time, in addition to his interests in music and art, Klee was a great reader of literature. With his parents reluctant permission, in 1898 Klee began studying art at the Academy of Fine Arts in Munich with Heinrich Knirr and he excelled at drawing but seemed to lack any natural color sense. He later recalled, During the third winter I even realized that I probably would never learn to paint, during these times of youthful adventure, Klee spent much time in pubs and had affairs with lower class women and artists models. He had a son in 1900 who died several weeks after birth
Paul Klee
–
Paul Klee in 1911
Paul Klee
–
My Room (German: Meine Bude), 1896. Pen and ink wash, 4¾ × 7½ inches. In the collection of the Klee Foundation,
Bern, Switzerland
Paul Klee
–
Flower Myth (Blumenmythos) 1918, watercolor on pastel foundation on fabric and newsprint mounted on board,
Sprengel Museum, Hannover, Germany
Paul Klee
–
Paul Klee as a soldier, 1916
10.
Lightness (color)
–
In colorimetry and color theory, lightness, also known as value or tone, is a representation of variation in the perception of a color or color spaces brightness. It is one of the color appearance parameters of any color appearance model, various color models have an explicit term for this property. The Munsell color model uses the value, while the HSL color model, HCL color space. The HSV model uses the value a little differently, a color with a low value is nearly black. In subtractive color value changes can be achieved by adding black or white to the color, chiaroscuro and Tenebrism both take advantage of dramatic contrasts of value to heighten drama in art. Artists may also employ shading, subtle manipulation of value, the Munsell value has long been used as a perceptually uniform lightness scale. A question of interest is the relationship between the Munsell value scale and the relative luminance, aware of the Weber–Fechner law, Munsell remarked Should we use a logarithmic curve or curve of squares. The remainder of section is a chronology of lightness approximations. – Munsells V runs from 0 to 10, while Y typically runs from 0 to 100, typically, the relative luminance is normalized so that the reference white has a tristimulus value of Y =100. Since the reflectance of magnesium oxide relative to the perfect reflecting diffuser is 97. 5%,1943 Newhall, Nickerson, and Judd prepare a report for the Optical Society of America. They suggest a quintic parabola, Y =1.221,9 V −0.231,11 V2 +0.239,51 V3 −0.021,009 V4 +0.000,840,4 V5. 1943 Using Table II of the O. S. A, report, Moon and Spencer express the value in terms of the relative luminance, V =50.426 =1.4 Y0.426. 1944 Saunderson and Milner introduce a constant in the previous expression. Later, Jameson and Hurvich claim that this corrects for simultaneous contrast effects, V =2.357 Y0.343 −1.52. 1955 Ladd and Pinney of Eastman Kodak are interested in the Munsell value as a uniform lightness scale for use in television. After considering one logarithmic and five power-law functions, they relate value to reflectance by raising the reflectance to the power of 0.352, V =2.217 Y0.352 −1.324. Realizing this is close to the cube root, they simplify it to. 1958 Glasser et al. define the lightness as ten times the Munsell value,1964 Wyszecki simplifies this to, W ⋆ =25 Y1 /3 −17
Lightness (color)
–
Three
hues in the
Munsell color model. Each color differs in value from top to bottom in equal perception steps. The right column undergoes a dramatic change in perceived color.
11.
Paris
–
Paris is the capital and most populous city of France. It has an area of 105 square kilometres and a population of 2,229,621 in 2013 within its administrative limits, the agglomeration has grown well beyond the citys administrative limits. By the 17th century, Paris was one of Europes major centres of finance, commerce, fashion, science, and the arts, and it retains that position still today. The aire urbaine de Paris, a measure of area, spans most of the Île-de-France region and has a population of 12,405,426. It is therefore the second largest metropolitan area in the European Union after London, the Metropole of Grand Paris was created in 2016, combining the commune and its nearest suburbs into a single area for economic and environmental co-operation. Grand Paris covers 814 square kilometres and has a population of 7 million persons, the Paris Region had a GDP of €624 billion in 2012, accounting for 30.0 percent of the GDP of France and ranking it as one of the wealthiest regions in Europe. The city is also a rail, highway, and air-transport hub served by two international airports, Paris-Charles de Gaulle and Paris-Orly. Opened in 1900, the subway system, the Paris Métro. It is the second busiest metro system in Europe after Moscow Metro, notably, Paris Gare du Nord is the busiest railway station in the world outside of Japan, with 262 millions passengers in 2015. In 2015, Paris received 22.2 million visitors, making it one of the top tourist destinations. The association football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris, the 80, 000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros, Paris hosted the 1900 and 1924 Summer Olympics and is bidding to host the 2024 Summer Olympics. The name Paris is derived from its inhabitants, the Celtic Parisii tribe. Thus, though written the same, the name is not related to the Paris of Greek mythology. In the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps, since the late 19th century, Paris has also been known as Panam in French slang. Inhabitants are known in English as Parisians and in French as Parisiens and they are also pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the areas major north-south trade routes crossed the Seine on the île de la Cité, this place of land and water trade routes gradually became a town
Paris
–
In the 1860s Paris streets and monuments were illuminated by 56,000 gas lamps, making it literally "The City of Light."
Paris
Paris
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Gold coins minted by the Parisii (1st century BC)
Paris
–
The
Palais de la Cité and
Sainte-Chapelle, viewed from the Left Bank, from the
Très Riches Heures du duc de Berry (month of June) (1410)
12.
Count
–
Count or countess is a title in European countries for a noble of varying status, but historically deemed to convey an approximate rank intermediate between the highest and lowest titles of nobility. The word count came into English from the French comte, itself from Latin comes—in its accusative comitem—meaning “companion”, the adjective form of the word is comital. The British and Irish equivalent is an earl, alternative names for the count rank in the nobility structure are used in other countries, such as Graf in Germany and Hakushaku during the Japanese Imperial era. In the Western Roman Empire, Count came to indicate generically a military commander, in the Eastern Roman Empire, from about the seventh century, count was a specific rank indicating the commander of two centuries. Military counts in the Late Empire and the Germanic successor kingdoms were often appointed by a dux, the position of comes was originally not hereditary. By virtue of their estates, many counts could pass the title to their heirs—but not always. For instance, in Piast Poland, the position of komes was not hereditary, the title had disappeared by the era of the Polish–Lithuanian Commonwealth, and the office had been replaced by others. Only after the Partitions of Poland did the title of count resurface in the title hrabia, in the United Kingdom, the equivalent Earl can also be used as a courtesy title for the eldest son of a duke or marquess. In Italy, by contrast, all the sons of certain counts were counts, in Sweden there is a distinction between counts created before and after 1809. All children in comital families elevated before 1809 are called count/countess, the following lists are originally based on a Glossary on Heraldica. org by Alexander Krischnig. The male form is followed by the female, and when available, apart from all these, a few unusual titles have been of comital rank, not necessarily to remain there. Dauphin was a comital title in southern France, used by the Dauphins of Vienne and Auvergne. The Dauphin was the lord of the province known as the région Dauphiné. Conde-Barão Count-Baron is a title used in Portugal, notably by D. Luís Lobo da Silveira, 7th Baron of Alvito. His palace in Lisbon still exists, located in a named after him. The German Graf and Dutch graaf stems from the Byzantine-Greek grapheus meaning he who calls a meeting together), the Ottoman military title of Serdar was used in Montenegro and Serbia as a lesser noble title with the equivalent rank of a Count. Since Louis VII, the highest precedence amongst the vassals of the French crown was enjoyed by those whose benefice or temporal fief was a pairie, i. e. In the eleventh century, conti like the Count of Savoy or the Norman Count of Apulia, were virtually sovereign lords of broad territories
Count
–
Countly ephemera: a Count's coronet and crest on a
doily.
Count
–
Coronet of a count (Spanish heraldry)
13.
Bourges
–
Bourges is a city in central France on the Yèvre river. It is the capital of the department of Cher and also was the capital of the province of Berry. The name of the city derives either from the Bituriges, the name of the inhabitants, or from the Germanic Burg. The Celts called it Avaricon, Latin-speakers, Avaricum, following the siege of Avaricum in the winter of 52 BC, Julius Caesars forces destroyed the city and killed all but 800 of its inhabitants. Rome reconstructed Avaricum as a Roman city, with a gate, aqueducts, thermae. The massive walls surrounding the late Roman city, enclosing 40 hectares, were built in part with stone re-used from earlier public buildings, the third-century AD Saint Ursinus, also known as Saint Ursin, is considered the first bishop of the city. Bourges is the seat of an archbishopric, during the 8th century Bourges lay on the northern fringes of the Duchy of Aquitaine and was therefore the first town to come under Frankish attacks when the Franks crossed the Loire. The Frankish Charles Martel captured the town in 731, but Duke Odo the Great of Aquitaine immediately re-took it, the Gothic Cathedral of Saint Etienne, begun at the end of the twelfth century, ranks as a World Heritage Site. It is considered as one of the earliest examples of the High Gothic style of the thirteenth century, during the Middle Ages, Bourges served as the capital of the Viscounty of Bourges until 1101. In the fourteenth century it became the capital of the Duchy of Berry, the future king of France, Charles VII, sought refuge there in the 1420s during the Hundred Years War. His son, Louis XI, was there in 1423. In 1438, Charles VII decreed the Pragmatic Sanction of Bourges, during this period, Bourges was also a major capital of alchemy. The city has a tradition of art and history. Apart from the cathedral, other sites of importance include the 15th-century Palace of Jacques Cœur, Bourges sits at the river junction where the Auron flows into the Yèvre. The disused Canal de Berry follows alongside the course of the Auron through Bourges, the A71 motorway connects Bourges with Orléans and Clermont-Ferrand. Bourges Airport is a regional airport. Bourges principal football team are Bourges Football 18 and it is also home to the womens basketball club CJM Bourges Basket, which has won multiple titles in domestic and European basketball. Bourges XV is the rugby team in the region, currently playing in French National Division
Bourges
–
Bourges Cathedral
Bourges
–
Floorplan of the cathedral of Bourges
Bourges
–
Half-timbered houses in Place Gordaine
14.
Atelier
–
This was the standard vocational practice for European artists from the Middle Ages to the 19th century, and common elsewhere in the world. Apprentices usually began young, working on tasks, and after some years became journeymen. This very word has taken on other similar meanings, indicating a place of work and study of the haute couture fashion designer, hair stylist. Atelier schools can be found around the world, particularly in North America and they traditionally include sessions for drawing or painting nude art. Sight-Size is a method of drawing and painting an object exactly as it appears to the artist, the artist first sets a vantage point where the subject and the drawing surface appear to be the same size. When properly done, sight-size drawing can result in extremely accurate and it can also be used to draw the exact dimensions for a model in preparation for a painting. Using this method, students progress through a series of such as cast drawing, cast painting, drawing and painting from the live model. Students must complete each task to the instructors satisfaction before progressing to the next and this system is referred to as systematic progression or systematic teaching and learning. Atelier students often begin this progression by drawing plaster casts and these casts are usually faces, hands, or other parts of the human anatomy. Plaster casts provide some of the benefits of live, human models and they also have their own distinct advantages, they remain perfectly still and their white color allows the student to focus on the pure, grayscale tones of shadows. One goal for sight-size students is to gain enough skill to transfer an image to the paper or canvas without the aid of a mechanical device. Sight-size can be taught and applied in conjunction with a sensitivity to gesture to create life-like imagery, especially when applied to portraiture. Darren R. Rousar, former student of Richard Lack and Charles Cecil as well as the author of Cast Drawing Using the Sight-Size Approach and he says that a fully trained artist who uses Sight-size might never use a plumb line or even consciously think about literal measuring. He or she will strive toward achieving the same retinal impression in the painting as is seen in nature, Art school owner Charles H. Cecil writes, In reviving the atelier tradition, R. H. Ives Gammell adopted sight-size as the basis of his teaching method. He founded his studio on the precedent of private ateliers, such as those of Carolus-Duran and these French masters were accomplished sight-size portraitists who conveyed to their pupils a devotion to the art of Velázquez. It should be noted that Sargent was trained by painters and that, in turn, his use of sight-size had a major influence in Great Britain. Art from ateliers using the method is often reminiscent of Greek and Roman sculpture from classical antiquity. Paintings may favor the visual imagery of the Neoclassical art of the mid-18th to 19th century, the comparative measurement method requires proportional accuracy, but allows the artist to vary the size of the image created
Atelier
–
French Atelier of Painters: titled "School of Fine Arts - Painter Workshop" (Ecole des Beaux-Arts - Atelier de Peintre)
Atelier
–
Robert-Fleury's Atelier at
Académie Julian for female art students - painting by student
Marie Bashkirtseff (1881)
Atelier
–
Bouguereau's Atelier at Académie Julian in Paris by
Jefferson David Chalfant (1891)
Atelier
–
Interior of the cast studio - Academy of Classical Design - Southern Pines, NC.
15.
Decorative Arts
–
The decorative arts are arts or crafts concerned with the design and manufacture of beautiful objects that are also functional. It includes interior design, but not usually architecture, the decorative arts are often categorized in opposition to the fine arts, namely, painting, drawing, photography, and large-scale sculpture, which generally have no function other than to be seen. The distinction between the decorative and the arts has essentially arisen from the post-Renaissance art of the West. This distinction is less meaningful when considering the art of other cultures and periods. For example, Islamic art in many periods and places consists entirely of the arts, often using geometric and plant forms. The distinction between decorative and fine arts is not very useful for appreciating Chinese art, and neither is it for understanding Early Medieval art in Europe, large-scale wall-paintings were much less regarded, crudely executed, and rarely mentioned in contemporary sources. They were probably seen as a substitute for mosaic, which for this period must be viewed as a fine art. The term ars sacra is sometimes used for medieval Christian art done in metal, ivory, textiles, illuminated manuscripts have a much higher survival rate, especially in the hands of the church, as there was little value in the materials and they were easy to store. Most European art during the Middle Ages had been produced under a different set of values. The lower status given to works of art in contrast to fine art narrowed with the rise of the Arts and Crafts Movement. This aesthetic movement of the half of the 19th century was born in England and inspired by William Morris. The movement represented the beginning of an appreciation of the decorative arts throughout Europe. Many converts, both professional artists ranks and from among the intellectual class as a whole, helped spread the ideas of the movement. The influence of the Arts and Crafts Movement led to the arts being given a greater appreciation and status in society. Until the enactment of the Copyright Act 1911 only works of art had been protected from unauthorised copying. The 1911 Act extended the definition of a work to include works of artistic craftsmanship
Decorative Arts
–
The front side of the
Cross of Lothair (c. 1000), a classic example of "Ars Sacra"
Decorative Arts
–
Surahi,
Mughal, 17th Century CE.
National Museum, New Delhi
Decorative Arts
–
Chinese bowl,
Northern Song Dynasty, 11th or 12th century, porcelaneous pottery with
celadon glaze
16.
Belleville, Paris
–
Belleville is a neighbourhood of Paris, France, parts of which lie in four different arrondissements. The major portion of Belleville straddles the borderline between the 20th arrondissement and the 19th along its street, the Rue de Belleville. The remainder lies in the 10th and 11th arrondissements, the name Belleville literally means beautiful town. Historically, Belleville was a working-class neighborhood, people living in the independent village of Belleville played a large part in establishing the Second French Republic through their actions during the Revolution of 1848. In 1871, residents of the neighborhood of Belleville were some of the strongest supporters of the Paris Commune. When the Versailles Army came to reconquer Paris in May of that year, it faced some of the toughest resistance in Belleville and in neighboring Ménilmontant. The bloody street fighting persisted in the two districts, and the last of the barricades is said to have been in the Rue Ramponeau in Belleville. During the first half of the 20th century, many settled there, German Jews fleeing the Third Reich in 1933. Many Algerians and Tunisian Jews arrived in the early 1960s, Belleville is home to one of the largest congregations of the Reformed Church of France. The Église Réformée de Belleville has been in the area shortly before World War I. Today, Belleville is a colourful, multi-ethnic neighbourhood and also home to one of the citys two Chinatowns, the other located in the 13th arrondissement near the Place dItalie, since the 1980s, an important Chinese community has been established there. There are many restaurants and associations as well as stores offering Chinese products, a fairly large and popular outdoor market is held there every Tuesday and Friday along the Boulevard de Belleville, where many local Île-de-France farmers sell their produce. During the 1980s Parisian artists and musicians, attracted by the cheaper rents, many artists now live and work in Belleville and studios are scattered throughout the quartier. Some abandoned factories have been transformed into art squats, where several artists and musicians. The demographics of the neighbourhood have undergone changes throughout the decades. While Armenians, Greeks, and Ashkenazi Jews were once the predominant ethnic groups, North Africans, a School of Architecture is also located in Belleville. The iconic French singer Édith Piaf grew up there and, according to legend, was born under a lamppost on the steps of the Rue de Belleville, a commemorative plaque can be found at number 72. Belleville is prominently featured in the 2007 biographical film of her life, other famous Bellevillois include film director Maurice Tourneur, legendary French can-can dancer Jane Avril and popular singer and actor Eddy Mitchell
Belleville, Paris
–
A view of
Ménilmontant, Paris from the hill of Belleville.
Belleville, Paris
–
The Parc de Belleville.
17.
Brittany
–
Brittany is a cultural region in the north-west of France. Brittany has also referred to as Less, Lesser or Little Britain. It is bordered by the English Channel to the north, the Celtic Sea and the Atlantic Ocean to the west, and its land area is 34,023 km². Since reorganisation in 1956, the administrative region of Brittany comprises only four of the five Breton departments. The remaining area of old Brittany, the Loire-Atlantique department around Nantes, at the 2010 census, the population of historic Brittany was estimated to be 4,475,295. Of these, 71% lived in the region of Brittany, while 29% lived in the Loire-Atlantique department, in 2012, the largest metropolitan areas were Nantes, Rennes, and Brest. Brittany is the homeland of the Breton people and is recognised by the Celtic League as one of the six Celtic nations. A nationalist movement seeks greater autonomy within the French Republic, the word Brittany, along with its French, Breton and Gallo equivalents Bretagne, Breizh and Bertaèyn, derive from the Latin Britannia, which means Britons land. This word had been used by the Romans since the 1st century to refer to Great Britain and this word derives from a Greek word, Πρεττανικη or Βρεττανίαι, used by Pytheas, an explorer from Massalia who visited the British Islands around 320 BC. This term probably comes from a Gallic word, aremorica, which close to the sea. Another name, Letauia, was used until the 12th century and it possibly means wide and flat or to expand and it gave the Welsh name for Brittany, Llydaw. Later, authors like Geoffrey of Monmouth used the terms Britannia minor, breton-speaking people may pronounce the word Breizh in two different ways, according to their region of origin. Breton can be divided into two dialects, the KLT and the dialect of Vannes. KLT speakers pronounce it and would write it Breiz, while the Vannetais speakers pronounce it, the official spelling is a compromise between both variants, with a z and an h together. In 1941, efforts to unify the dialects led to the creation of the so-called Breton zh, on its side, Gallo language has never had a widely accepted writing system and several ones coexist. For instance, the name of the region in that language can be written Bertaèyn in ELG script, or Bertègn in MOGA, Brittany has been inhabited by humans since the Lower Paleolithic. This population was scarce and very similar to the other Neanderthals found in the whole of Western Europe and their only original feature was a distinct culture, called Colombanian. One of the oldest hearths in the world has found in Plouhinec
Brittany
–
The
Carnac stones.
Brittany
Brittany
–
The five Gallic tribes of Brittany.
Brittany
–
The temple of Mars in
Corseul.
18.
Pont-Aven School
–
Pont-Aven School encompasses works of art influenced by Pont-Aven and its surroundings. Originally the term applied to works created in the colony at Pont-Aven which started to emerge in the 1850s. Many of the artists were inspired by the works of Paul Gauguin who spent extended periods in the area in the late 1880s and their work is frequently characterised by the bold use of pure colour and their Symbolist choice of subject matter. Pont-Aven is a commune of the Finistère département, in Brittany, France, from the 1850s painters began to frequent the village of Pont-Aven, wanting to spend their summers away from the city, on a low budget in a picturesque place not yet spoilt by tourism. Gauguin first worked in Pont-Aven in 1886, there, Gauguin, accompanied by Meijer de Haan, Charles Filiger and for a while by Sérusier, spent the winter of 1889/1890 and several months afterwards. The opening of the line from Paris to Quimper in 1862 encouraged tourism in Brittany. The first group of artists to arrive in Pont-Aven during the summer of 1866 consisted of American art students from Philadelphia including Robert Wylie, Charles Way, Earl Shinn and Howard Roberts. They were soon joined by three other Americans, Benjamin Champney, Frederick Bridgeman and Moses Wright, by two English painters, Lewis and Carraway, and by two Frenchmen. Over the next 15 years, the reputation of the colony spread far and wide, among the other foreigners to visit were Herman van den Anker from the Netherlands, Augustus Burke from Ireland and Paul Peel from Canada. The English illustrator Randolph Caldecott visited in 1880 and he illustrated Henry Blackburns Breton Folk, An Artistic Tour of Brittany, one of the most popular guide-books of the time. There were three hotels ready to accommodate visitors, the Hôtel de Voyageurs, the Hôtel du Lion dOr, the Pension Gloanec, where Gauguin and his circle lodged, was especially cheap. When Blackburn visited it offered demi-pension, i. e. board, breakfast and evening meal with cider thrown in, the artists were attracted by the beauty of the surrounding countryside and the low cost of living. Many of them were looking for a new point of departure, hoping to break away from the Academic style of the École des Beaux-Arts and from Impressionism which was beginning to decline. Brittany opened up new horizons with its language, traditional dress, fervant Catholic belief, an oral tradition, the two most innovative painters to arrive on the scene were Paul Gauguin and Émile Bernard. Gauguin had reached in Pont-Aven in July 1886 while Bernard came later in the summer, when the two met again two years later, they consolidated their relationship. After his first voyage to Tahiti in 1891, Gauguin returned to Pont-Aven for the last time in 1894,1866 Herman van den Anker, Dutch,1868 William Bouguereau, French,1868 Louis Cabat, French, c. A memoir by his son, Studio Vista, London 1965, Breton Folk, An Artistic Tour in Brittany. London, Sampson Low, Marston, Searle & Rivington, new Haven, Connecticut, Yale University Press, ISBN 0-300-09109-5
Pont-Aven School
–
Paul Gauguin, Watermill in Pont-Aven, 1894,
Musée d'Orsay, Paris
Pont-Aven School
–
Robert Wylie: La Sorcière bretonne (1872)
Pont-Aven School
–
Randolph Caldecott, Pont-Aven, 1881.
Pont-Aven School
–
Paul Sérusier, The Talisman (with the forest landscape of love in Pont-Aven) 1888
19.
Henri Rousseau
–
Henri Julien Félix Rousseau was a French post-impressionist painter in the Naïve or Primitive manner. He was also known as Le Douanier, a description of his occupation as a toll collector. Ridiculed during his lifetime by critics, he came to be recognized as a genius whose works are of high artistic quality. Rousseaus work exerted an influence on several generations of avant-garde artists. Rousseau was born in Laval, France, in 1844 into the family of a plumber, he was forced to work there as a small boy. He attended Laval High School as a day student, and then as a boarder after his father became a debtor, though mediocre in some of his high school subjects, Rousseau won prizes for drawing and music. After high school, he worked for a lawyer and studied law and he served four years, starting in 1863. With his fathers death, Rousseau moved to Paris in 1868 to support his mother as a government employee. In 1868, he married Clémence Boitard, his landlords 15-year-old daughter, in 1871, he was appointed as a collector of the octroi of Paris, collecting taxes on goods entering Paris. His wife died in 1888 and he married Josephine Noury in 1898 and he started painting seriously in his early forties, by age 49, he retired from his job to work on his art full-time. Rousseau claimed he had no other than nature, although he admitted he had received some advice from two established Academic painters, Félix Auguste Clément and Jean-Léon Gérôme. Essentially, he was self-taught and is considered to be a naïve or primitive painter and his best-known paintings depict jungle scenes, even though he never left France or saw a jungle. Stories spread by admirers that his service included the French expeditionary force to Mexico are unfounded. His inspiration came from illustrations in books and the botanical gardens in Paris. He had also met soldiers during his term of service who had survived the French expedition to Mexico, along with his exotic scenes there was a concurrent output of smaller topographical images of the city and its suburbs. Rousseaus flat, seemingly childish style was disparaged by many critics and his ingenuousness was extreme, and he always aspired, in vain, to conventional acceptance. Many observers commented that he painted like a child, but the work shows sophistication with his particular technique, from 1886, he exhibited regularly in the Salon des Indépendants, and, although his work was not placed prominently, it drew an increasing following over the years. Yet it was more than a decade before Rousseau returned to depicting his vision of jungles, in 1893, Rousseau moved to a studio in Montparnasse where he lived and worked until his death in 1910
Henri Rousseau
–
Portrait of Henri (Le Douanier) Rousseau, 1910, photograph: Pablo Picasso
Henri Rousseau
–
Self-portrait of the Artist with a Lamp
Henri Rousseau
–
Tiger in a Tropical Storm (Surprised!) (1891) was the first of many jungle scenes for which Rousseau is best known.
Henri Rousseau
–
The Hungry Lion Throws Itself on the Antelope, 1905
20.
Jean Metzinger
–
Jean Dominique Antony Metzinger was a major 20th-century French painter, theorist, writer, critic and poet, who along with Albert Gleizes wrote a theoretical work on Cubism. His earliest works, from 1900 to 1904, were influenced by the Neo-impressionism of Georges Seurat, between 1904 and 1907 Metzinger worked in the Divisionist and Fauvist styles with a strong Cézannian component, leading to some of the first proto-Cubist works. From 1908 Metzinger experimented with the faceting of form, a style that would become known as Cubism. His early involvement in Cubism saw him both as an influential artist and an important theorist of the movement. The idea of moving around an object in order to see it from different view-points is treated, for the first time, in Metzingers Note sur la Peinture, before the emergence of Cubism, painters worked from the limiting factor of a single view-point. Jean Metzinger and Albert Gleizes wrote the first major treatise on Cubism in 1912, Metzinger was a founding member of the Section dOr group of artists. During the First World War Metzinger furthered his role as a leading Cubist with his co-founding of the phase of the movement. He recognized the importance of mathematics in art, through a radical geometrization of form as an underlying basis for his wartime compositions. As post-war reconstruction began, a series of exhibitions at Léonce Rosenbergs Galerie de LEffort Moderne were to highlight order, the collective phenomenon of Cubism—now in its advanced revisionist form—became part of a widely discussed development in French culture, with Metzinger at its helm. In terms of the separation of culture and life, this period emerges as the most important in the history of Modernism, for Metzinger, the classical vision had been an incomplete representation of real things, based on an incomplete set of laws, postulates and theorems. He believed the world was dynamic and changing in time, that it appeared different depending on the point of view of the observer, each of these viewpoints were equally valid according to underlying symmetries inherent in nature. Jean Metzinger came from a prominent military family and his great-grandfather, Nicolas Metzinger, Captain in the 1st Horse Artillery Regiment, and Chevalier of the Legion of Honour, had served under Napoleon Bonaparte. A street in the Sixième arrondissement of Nantes was named after Jeans grandfather, Jeans younger brother Maurice would become a musician, excelling as a cellist. By 1900 Jean was a student at Académie Cours Cambronne in Nantes, working under Hippolyte Touront, Metzinger, however, was interested in the current trends in painting. Metzinger sent three paintings to the Salon des Indépendants in 1903, and subsequently moved to Paris with the proceeds from their sale, from the age of 20, Metzinger supported himself as a professional painter. He would show four times at Weills gallery,17 January-1 February 1913, March 1913, June 1914. It is at Berthe Weills that he would meet Max Jacob for the first time, Berthe Weill was also the first Parisian art dealer to sell works of Picasso. Along with Picasso and Metzinger, she helped discover Matisse, Derain, Amedeo Modigliani, in 1904 Metzinger exhibited six paintings in the Divisionist style at the Salon des Indépendants and the Salon d’Automne
Jean Metzinger
–
Metzinger, before 1913
Jean Metzinger
–
Jean Metzinger, 1912,
Danseuse au café (Dancer in a café), oil on canvas, 146.1 x 114.3 cm, Albright-Knox Art Gallery, Buffalo, New York. Published in Au Salon d'Automne "Les Indépendants" 1912, Exhibited at the 1912 Salon d'Automne
Jean Metzinger
–
Jean Metzinger, c.1905,
Baigneuse, Deux nus dans un jardin exotique (Two Nudes in an Exotic Landscape), oil on canvas, 116 x 88.8 cm, Colección Carmen Thyssen-Bornemisza
Jean Metzinger
–
Jean Metzinger, ca. 1906,
Coucher de Soleil No. 1 (Landscape), oil on canvas, 72.5 x 100 cm,
Rijksmuseum Kröller-Müller, Otterlo, Netherlands
21.
Art exhibition
–
An art exhibition is traditionally the space in which art objects meet an audience. The exhibit is universally understood to be for some temporary period unless, as is rarely true, in American English, they may be called exhibit, exposition or show. In UK English, they are always called exhibitions or shows, and an individual item in the show is an exhibit. The art works may be presented in museums, art halls, art clubs or private art galleries, or at some place the business of which is not the display or sale of art. An important distinction is noted between those exhibits where some or all of the works are for sale, normally in private art galleries, sometimes the event is organized on a specific occasion, like a birthday, anniversary or commemoration. There are different kinds of art exhibitions, in there is a distinction between commercial and non-commercial exhibitions. A commercial exhibition or trade fair is often referred to as an art fair that shows the work of artists or art dealers where participants generally have to pay a fee. A vanity gallery is a space of works in a gallery that charges the artist for use of the space. They normally include no items for sale, they are distinguished from the permanent displays. Exhibitions in commercial galleries are often made up of items that are for sale. Typically, the visitor has to pay to enter a museum exhibition, retrospectives look back over the work of a single artist, other common types are individual expositions or solo shows, group expositions, or expositions on a specific theme or topic. The Biennale is an exhibition held every two years, often intending to gather together the best of international art, there are now many of these. A travelling exhibition is another category of art exhibition, Exhibitions of new or recent art can be juried, invitational, or open. If prizes are to be awarded, the judge or panel of judges will select the prizewinners as well. In an invitational exhibition, such as the Whitney Biennial, the organizer of the show asks certain artists to supply artworks, an open or non-juried exhibition, such as the Kyoto Triennial, allows anybody to enter artworks and shows them all. A type of exhibition that is usually non-juried is an art exhibition. The art exhibition has played a part in the market for new art since the 18th and 19th centuries. The Paris Salon, open to the public from 1737, rapidly became the key factor in determining the reputation, and so the price, of the French artists of the day
Art exhibition
–
This Year Venuses Again!, 1864.
Honoré Daumier satirizes the
bourgeoisie scandalized by the
Paris Salon 's Venuses.
Art exhibition
–
Exhibition space being readied for a show at the
Arthur M. Sackler Gallery
Art exhibition
–
"A Slight Attack of Third Dimentia Brought on by Excessive Study of the Much Talked of Cubist Pictures in the International Exhibition at New York," drawn by
John French Sloan in April 1913, satirizing the
Armory Show.
Art exhibition
–
1 February 2011
22.
Art gallery
–
An art museum or art gallery is a building or space for the exhibition of art, usually visual art. Museums can be public or private, but what distinguishes a museum is the ownership of a collection, the term is used for both public galleries, which are non-profit or publicly owned museums that display selected collections of art. On the other hand, private galleries refers to the commercial enterprises for the sale of art, however, both types of gallery may host traveling exhibits or temporary exhibitions including art borrowed from elsewhere. In broad terms, in North American usage, the word gallery alone often implies a private gallery, the term contemporary art gallery refers usually to a privately owned for-profit commercial gallery. These galleries are found clustered together in large urban centers. Smaller cities are home to at least one gallery, but they may also be found in towns or villages. Contemporary art galleries are open to the general public without charge, however. They usually profit by taking a portion of art sales, from 25% to 50% is typical, there are also many non-profit or collective galleries. Some galleries in cities like Tokyo charge the artists a flat rate per day, curators often create group shows that say something about a certain theme, trend in art, or group of associated artists. Galleries sometimes choose to represent artists exclusively, giving them the opportunity to show regularly, a gallerys definition can also include the artist cooperative or artist-run space, which often operates as a space with a more democratic mission and selection process. A vanity gallery is an art gallery that charges fees from artists in order to show their work, the shows are not legitimately curated and will frequently or usually include as many artists as possible. Most art professionals are able to identify them on an artists resume, University art museums and galleries constitute collections of art that are developed, owned, and maintained by all kinds of schools, community colleges, colleges, and universities. This phenomenon exists in both the West and East, making it a global practice, although largely overlooked, there are over 700 university art museums in America alone. This number, in comparison to other kinds of art museums, throughout history, large and expensive works of art have generally been commissioned by religious institutions and monarchs and been displayed in temples, churches, and palaces. Although these collections of art were private, they were made available for viewing for a portion of the public. In classical times, religious institutions began to function as a form of art gallery. Wealthy Roman collectors of engraved gems and other precious objects often donated their collections to temples and it is unclear how easy it was in practice for the public to view these items. At the Palace of Versailles, entrance was restricted to wearing the proper apparel – the appropriate accessories could be hired from shops outside
Art gallery
–
The Louvre in
Paris,
France, is one of the world's largest museums and
the most visited art museum in the world.
Art gallery
–
The Gallery of
Cornelis van der Geest,
Willem van Haecht, 1628. A private picture gallery as an early precursor of the modern museum.
Art gallery
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University of Tartu Art Museum is the oldest museum in
Estonia.
Art gallery
–
The art collection at the
Palace of Versailles in
France was periodically open for 'respectable' public viewing.
23.
Art critic
–
An art critic is a person who is specialized in analyzing, interpreting and evaluating art. Their written critiques or reviews contribute to art criticism and they are published in newspapers, magazines, books, exhibition brochures and catalogues, some of todays art critics use art blogs and other online platforms in order to connect with a wider audience and expand debate about art. Differently from art history, there is not a training for art critics, art critics come from different backgrounds. Professional art critics are expected to have an eye for art. Typically the art critic views art at exhibitions, galleries, museums or artists studios, very rarely art critics earn their living from writing criticism. The opinions of art critics have the potential to stir debate on art related topics, due to this the viewpoints of art critics writing for art publications and newspapers adds to public discourse concerning art and culture. Art collectors and patrons often rely on the advice of such critics as a way to enhance their appreciation of the art they are viewing. Many now famous and celebrated artists were not recognized by the art critics of their time, an experience-related article is Agnieszka Gratza. Always according to James Elkins in smaller and developing countries, newspaper art criticism normally serves as art history, Art criticism List of art critics History of art criticism Good audio version of symposium on contemporary art criticism entitled Empathy and Criticality, sponsored by the Frieze Foundation
Art critic
–
John Ruskin (1819-1900), c.1870.
Leo Tolstoy described Ruskin as, "one of those rare men who think with their heart." A champion of the work of
J.M.W. Turner, Ruskin detested the work of
James McNeill Whistler
Art critic
–
Jean-Honoré Fragonard, Portrait of
Denis Diderot, 1769,
Louvre,
Paris. His
art criticism was highly influential. His Essais sur la peinture was described by
Johann Wolfgang von Goethe, as "a magnificent work, which speaks even more helpfully to the poet than to the painter, though to the painter too it is as a blazing torch." Diderot's favorite painter was
Jean-Baptiste Greuze.
Art critic
–
Charles Baudelaire 1855, Photo by
Nadar. Baudelaire is associated with the
Decadent movement. His book of poetry
Les Fleurs du mal is acknowledged as a classic of
French literature
Art critic
–
Édouard Manet, Portrait of
Zacharie Astruc 1866,
Kunsthalle Bremen. He was a strong defender of
Gustave Courbet, and was one of the first to recognize the talent of
Édouard Manet. He also defended
Claude Monet,
James McNeill Whistler,
Carolus-Duran,
Fantin-Latour, and
Alphonse Legros.
24.
Louis Vauxcelles
–
Louis Vauxcelles was an influential French art critic. He is credited with coining the terms Fauvism, and Cubism, Vauxcelles coined the phrase les fauves in a 1905 review of the Salon dAutomne exhibit to describe in a mocking, critical manner a circle of painters associated with Matisse. Henri Matisses Blue Nude appeared at the 1907 Indépendants, entitled Tableau no, Vauxcelles writes on the topic of Nu bleu, I admit to not understanding. An ugly nude woman is stretched out upon grass of an opaque blue under the palm trees and this is an artistic effect tending toward the abstract that escapes me completely. Vauxcelles described the group of Fauves, A movement I consider dangerous is taking shape among a clan of youngsters. A chapel has been established, two haughty priests officiating, MM Derain and Matisse, a few dozen innocent catechumens have received their baptism. Their dogma amounts to a wavering schematicism that proscribes modeling and volumes in the name of I-dont-know-what pictorial abstraction and this new religion hardly appeals to me. I dont believe in this Renaissance, M. Matisse, fauve-in-chief, M. Derain, fauve deputy, MM. Othon Friesz and Dufy, fauves in attendance, in 1906 Jean Metzinger formed a close friendship with Robert Delaunay, with whom he would share an exhibition at Berthe Weills gallery early in 1907. The two of them were singled out by Vauxcelles in 1907 as Divisionists who used large, mosaic-like cubes to construct small, Vauxcelles recounts how Matisse told him at the time, Braque has just sent in a painting made of little cubes. The critic Charles Morice relayed Matisses words and spoke of Braques little cubes, the motif of the viaduct at lEstaque had inspired Braque to produce three paintings marked by the simplification of form and deconstruction of perspective. On 25 May 1909, Vauxcelles qualifies the works of Braque exhibited at the Salon des Indépendants as «bizarreries cubiques». In neither case notes Daniel Robbins, did the use of the word cube lead to the identification of the artists with a new pictorial attitude. The term Cubism emerged for the first time at the inauguration of the 1911 Salon des Indépendants, Vauxcelles acknowledged the importance of Cézanne to the Cubists in his article titled From Cézanne to Cubism. For Vauxcelles the influence had a character, both architectural and intellectual. He stressed the statement made by Émile Bernard that Cézannes optics were not in the eye, in 1911 he coined the less well-known term Tubism in describing the style of Fernand Léger. Towards the end of his life, in 1932, Vauxcelles published an essay about Marek Szwarc. His art, which plunges its roots into the past of the ghettos, ISBN 0-7924-5848-6 Works by or about Louis Vauxcelles at Internet Archive
Louis Vauxcelles
–
Louis Vauxcelles, 1909 (
Jules Chéret)
25.
Neo-Impressionist
–
Neo-Impressionism is a term coined by French art critic Félix Fénéon in 1886 to describe an art movement founded by Georges Seurat. Around this time, the peak of France’s modern era emerged, followers of Neo-Impressionism, in particular, were drawn to modern urban scenes as well as landscapes and seashores. Science-based interpretation of lines and colors influenced Neo-Impressionists characterization of their own contemporary art, the Pointillist and Divisionist techniques are often mentioned in this context, because it was the dominant technique in the beginning of the Neo-impressionist movement. Some argue that Neo-Impressionism became the first true movement in painting. The Neo-Impressionists were able to create a movement very quickly in the 19th century, partially due to its connection to anarchism. The movement and the style were an attempt to drive harmonious vision from modern science, anarchist theory, during the emergence of Neo-Impressionism, Seurat and his followers strove to refine the impulsive and intuitive artistic mannerisms of Impressionism. Neo-impressionists used disciplined networks of dots and blocks of color in their desire to instill a sense of organization, in further defining the movement, Seurat incorporated the recent explanation of optic and color perceptions. The development of theory by Michel Eugène Chevreul and others by the late 19th century played a pivotal role in shaping the Neo-Impressionist style. Ogden Rood’s book, Modern Chromatics, with Applications to Art and Industry, acknowledged the different behaviors exhibited by colored light, while the mixture of the former created a white or gray color, that of the latter produced a dark, murky color. As painters, Neo-Impressionists had to deal with colored pigments, so to avoid the dullness, mixing of colors was not necessary. There are a number of alternatives to the term Neo-Impressionism and each has its own nuance and it emphasized the studies of color and light which were central to his artistic style. This term is used today. Divisionism, which is commonly used, is used to describe a mode of Neo-Impressionist painting. It refers to the method of applying individual strokes of complementary, unlike other designations of this era, the term Neo-Impressionism was not given as a criticism. Instead, it embraces Seurats and his followers ideals in their approach to art, note, Pointillism merely describes a later technique based on divisionism in which dots of color instead of blocks of color are applied. Neo-Impressionism was first presented to the public in 1886 at the Salon des Indépendants, the Indépendants remained their main exhibition space for decades with Signac acting as president of the association. But with the success of Neo-Impressionism, its fame spread quickly, in 1886, Seurat and Signac were invited to exhibit in the 8th and final Impressionist exhibition, later with Les XX and La Libre Esthétique in Brussels. In 1892, a group of Neo-Impressionist painters united to show their works in Paris, in the Salons of the Hôtel Brébant,32, the following year they exhibited at 20, rue Laffitte
Neo-Impressionist
–
A Sunday Afternoon on the Island of La Grande Jatte
Neo-Impressionist
–
Paul Signac, 1890, Portrait of
Félix Fénéon (in front of an enamel of a rhythmic background of measures and angles, shades and colors), oil on canvas, 73.7 x 92.5 cm (28.9 x 36.4 in.),
Museum of Modern Art, New York
Neo-Impressionist
–
Henri-Edmond Cross, The Evening Air (l'Air du soir), c.1893, oil on canvas, 116 x 164 cm,
Musée d'Orsay, Paris
Neo-Impressionist
–
Georges Seurat, Le Cirque, 1891, oil on canvas, 185 x 152 cm,
Musée d'Orsay, Paris
26.
Coucher de soleil no. 1 (Metzinger)
–
Coucher de soleil no.1 is an oil painting created circa 1906 by the French artist and theorist Jean Metzinger. Coucher de soleil no.1 is a work executed in a mosaic-like Divisionist style with a Fauve palette, the reverberating image of the sun in Metzingers painting is an homage to the decomposition of spectral light at the core of Neo-Impressionist color theory. Coucher de soleil was exhibited in Paris during the spring of 1907 at the Salon des Indépendants, along with Bacchante, the painting had been in the collection of Helene Kröller-Müller since 1921, and is currently at the Kröller-Müller Museum, Otterlo, Netherlands. Coucher de soleil no.1 is an oil painting on canvas in a format with dimensions 72.5 x 100 cm, signed J. Metzinger. Also on the verso is another painting by Metzinger representing a scene with ships. The work represents two nude women relaxing in a lush Mediterranean landscape with semi-tropical vegetation, hills, trees, a body of water, the plants to the lower left resemble the Agave, a species found in the south of France, Spain and Greece. Agave is also the name of three characters in Greek mythology, Agave, one of the Nereids, Agave, one of the Danaids, daughter of Danaus and Europa. She married Lycus, son of Aegyptus and Argyphia, the two nudes appear to play a secondary role in the overall composition due to their small size. But their prominent location in the foreground and the nature of public nudity propels them to a position that cannot be ignored. In this luscious setting—as in Luxe, Calme et Volupté by Henri Matisse—Metzinger makes use all the colors in the spectrum of visible light.4 x 63.8 cm with a radiating sun above the bathers. The brushstrokes are smaller in size consistent with Metzingers style of late 1905, in 1906 and 1907 Metzingers brushstrokes became larger and more organized, structured within a highly geometrized framework already proto-Cubist in appearance. As its name implies, Coucher de soleil no.1 might have been the first in a series of sunsets, though no other works by Metzinger are known by the titles Coucher de soleil no.2 or No. 1906, oil on canvas,49.9 x 67.7 cm, or even La tour de Batz au coucher de soleil,54 x 73 cm, indeed, these clues would seem to suggest Coucher de soleil no. The Fauves, were influenced by Neo-Impressionism, calling upon rational and scientific thought. Mechanical brushwork suppressed the personality of the artist in an act of defiance against the Impressionists. The Symbolists too would strip away the casual and accidental features of reality, whether such a revelation could be backed up by a scientific theory or not, there were still examples that could be codified. The problem was that pigments reflect light, they are not a light source themselves, colors in the spectra of light did not respond in the same way as color pigments painted on canvas. For example, red and blue light rays result in white light, Metzingers response in Coucher de soleil no
Coucher de soleil no. 1 (Metzinger)
–
Coucher de soleil no. 1
Coucher de soleil no. 1 (Metzinger)
–
Borghese Hermaphroditus (Sleeping Hermaphroditus), Greek marble, Roman copy of the 2nd century CE after a Hellenistic original of the 2nd century BC,
The Louvre, Paris
Coucher de soleil no. 1 (Metzinger)
–
Jean Metzinger, c.1905-06, Nu dans un paysage, oil on canvas, 73 x 54 cm. Daniel-Henry Kahnweiler Sale of Sequestered Art, Hôtel Drouot, Paris, 17–18 November 1921, reproduced n. 162
Coucher de soleil no. 1 (Metzinger)
–
Henri Matisse, 1904,
Luxe, Calme et Volupté, oil on canvas, 98.5 × 118.5 cm (37 x 46 in),
Musée d'Orsay, Paris
27.
Piet Mondrian
–
Pieter Cornelis Piet Mondriaan, after 1906 Mondrian, was a Dutch painter. Mondrian was a contributor to the De Stijl art movement and group and he evolved a non-representational form which he termed neoplasticism. This consisted of ground, upon which he painted a grid of vertical and horizontal black lines. Mondrians arrival in Paris from the Netherlands in 1911 marked the beginning of a period of profound change and he encountered experiments in Cubism and with the intent of integrating himself within the Parisian avant-garde removed an a from the Dutch spelling of his name. Mondrian was born in Amersfoort in the Netherlands, the second of his parents children and he was descended from Christian Dirkzoon Monderyan who lived in The Hague as early as 1670. The family moved to Winterswijk in the east of the country when his father, Pieter Cornelius Mondriaan, was appointed Head Teacher at a primary school. Mondrian was introduced to art from a early age. His father was a drawing teacher, and, with his uncle, Fritz Mondriaan. After a strictly Protestant upbringing, in 1892, Mondrian entered the Academy for Fine Art in Amsterdam and he already was qualified as a teacher. He began his career as a teacher in primary education, most of his work from this period is naturalistic or Impressionistic, consisting largely of landscapes. These paintings are most definitely representational, and they illustrate the influence that various artistic movements had on Mondrian, including pointillism, on display in the Gemeentemuseum Den Haag are a number of paintings from this period, including such Post-Impressionist works as The Red Mill and Trees in Moonrise. Another painting, Evening, depicting a tree in a field at dusk, even augurs future developments by using a palette consisting almost entirely of red, yellow, although Avond is only limitedly abstract, it is the earliest Mondrian painting to emphasize primary colors. Mondrians earliest paintings showing a degree of abstraction are a series of canvases from 1905 to 1908 that depict dim scenes of trees and houses reflected in still water. Mondrians art was related to his spiritual and philosophical studies. In 1908, he interested in the theosophical movement launched by Helena Petrovna Blavatsky in the late 19th century. The work of Blavatsky and a spiritual movement, Rudolf Steiners Anthroposophy. In 1918, he wrote I got everything from the Secret Doctrine, in 1921, in a letter to Steiner, Mondrian argued that his neoplasticism was the art of the foreseeable future for all true Anthroposophists and Theosophists. He remained a committed Theosophist in subsequent years, although he believed that his own artistic current, neoplasticism, would eventually become part of a larger
Piet Mondrian
–
Mondrian in 1899
Piet Mondrian
–
Mondrian's birthplace in
Amersfoort, Netherlands, now
The Mondriaan House, a museum
Piet Mondrian
–
In this house, now the Villa Mondriaan, in
Winterswijk, Piet Mondrian lived from 1880 to 1892
Piet Mondrian
–
Willow Grove: Impression of Light and Shadow, c. 1905, oil on canvas, 35 × 45 cm,
Dallas Museum of Art
28.
Gino Severini
–
Gino Severini was an Italian painter and a leading member of the Futurist movement. For much of his life he divided his time between Paris and Rome and he was associated with neo-classicism and the return to order in the decade after the First World War. During his career he worked in a variety of media, including mosaic and he showed his work at major exhibitions, including the Rome Quadrennial, and won art prizes from major institutions. Severini was born into a family in Cortona, Italy. His father was a court official and his mother a dressmaker. He studied at the Scuola Tecnica in Cortona until the age of fifteen, for a while he worked with his father, then in 1899 he moved to Rome with his mother. It was there that he first showed a serious interest in art, with the help of a patron of Cortonese origins he attended art classes, enrolling in the free school for nude studies and a private academy. His formal art education ended after two years when his patron stopped his allowance, declaring, I absolutely do not understand your lack of order, in 1900 he met the painter Umberto Boccioni. The ideas of Divisionism had a influence on Severinis early work. Severini settled in Paris in November 1906, the move was momentous for him. He said later, The cities to which I feel most strongly bound are Cortona and Paris, I was born physically in the first and he lived in Montmartre and dedicated himself to painting. There he met most of the artists of the period, befriending Amedeo Modigliani and occupying a studio next to those of Raoul Dufy, Georges Braque. The sale of his work did not provide enough to live on and he was an important link between artists in France and Italy and came into contact with Cubism before his Futurist colleagues. Following a visit to Paris in 1911, the Italian Futurists adopted a sort of Cubism, in 1913, he had solo exhibitions at the Marlborough Gallery, London, and Der Sturm, Berlin. Severini later came to agree with Apollinaire, Severini was less attracted to the subject of the machine than his fellow Futurists and frequently chose the form of the dancer to express Futurist theories of dynamism in art. He was particularly adept at rendering lively urban scenes, for example in Dynamic Hieroglyph of the Bal Tabarin, during the First World War he produced some of the finest Futurist war art, notably his Italian Lancers at a Gallop and Armoured Train. In 1916 Severini departed from Futurism and painted works in a naturalistic style inspired by his interest in early Renaissance art. After the First World War, Severini gradually abandoned the Futurist style, by 1920 he was applying theories of classical balance based on the Golden Section to still lifes and figurative subjects from the traditional commedia dellarte
Gino Severini
–
Gino Severini, aged 30, at the opening of his solo exhibition at the Marlborough Gallery, London
Gino Severini
–
Gino Severini, 1910–11, La Modiste (The Milliner), oil on canvas, 64.8 x 48.3 cm,
Philadelphia Museum of Art
Gino Severini
–
Gino Severini, 1911, Souvenirs de Voyage (Memories of a Journey, Ricordi di viaggio), oil on canvas, 47 x 75 cm, private collection
Gino Severini
–
Gino Severini, 1912, Dynamic Hieroglyphic of the Bal Tabarin, oil on canvas with sequins, 161.6 x 156.2 cm (63.6 x 61.5 in.),
Museum of Modern Art, New York
29.
Art Institute of Chicago
–
The Art Institute of Chicago, founded in 1879 and located in Chicagos Grant Park, is one of the oldest and largest art museums in the United States. Recognized for its efforts and popularity among visitors, the museum hosts approximately 1.5 million guests annually. The growth of the collection has warranted several additions to the museums original 1893 building, the Art Institute is connected to the School of the Art Institute of Chicago, a leading art school, making it one of the few remaining unified arts institutions in the United States. In 1866, a group of 35 artists founded the Chicago Academy of Design in a studio on Dearborn Street, the organization was modeled after European art academies, such as the Royal Academy, with Academicians and Associate Academicians. The Academys charter was granted in March 1867, classes started in 1868, meeting every day at a cost of $10 per month. The Academys success enabled it to build a new home for the school, a stone building on 66 West Adams Street. When the Great Chicago Fire destroyed the building in 1871 the Academy was thrown into debt, attempts to continue despite the loss by using rented facilities failed. By 1878 the Academy was $10,000 in debt, members tried to rescue the ailing institution by making deals with local businessmen, before some finally abandoned it in 1879 to found a new organization, named the Chicago Academy of Fine Arts. When the Chicago Academy of Design went bankrupt the same year, in 1882, the Chicago Academy of Fine Arts changed its name to the current Art Institute of Chicago and elected as its first president the banker and philanthropist Charles L. Also in 1882, the purchased a lot on the southwest corner of Michigan Avenue. By January 1885 the trustees recognized the need to provide space for the organizations growing collection. The city agreed, and the building was completed in time for the year of the fair. Construction costs were met by selling the Michigan/Van Buren property, on October 31,1893 the Institute moved into the new building. For the opening reception on December 8,1893, Theodore Thomas, from the 1900s to the 1960s the school offered with the Logan Family the Logan Medal of the Arts, an award which became one of the most distinguished awards presented to artists in the US. Between 1959 and 1970 the Institute was a key site in the battle to gain art and documentary photography a place in galleries, under curator Hugh Edwards and his assistants. As Director of the museum starting in the early 1980s, James N. Wood conducted an expansion of its collection. He retired from the museum in 2004, in 2006, the Art Institute began construction of The Modern Wing, an addition situated on the southwest corner of Columbus and Monroe. The project, designed by Pritzker Prize winning architect Renzo Piano, was completed, the 264, 000-square-foot building makes the Art Institute the second-largest art museum in the United States
Art Institute of Chicago
–
One of the two lion statues (Kemeys, bronze 1893) flanking the Institute's main entrances
Art Institute of Chicago
–
Seurat at the Art Institute
Art Institute of Chicago
–
Edward Hopper,
Nighthawks (1942)
Art Institute of Chicago
–
Mary Cassatt, The Bath 1891–1892
30.
Museum of Modern Art
–
The Museum of Modern Art is an art museum located in Midtown Manhattan in New York City, on 53rd Street between Fifth and Sixth Avenues. MoMA has been important in developing and collecting modernist art, and is identified as one of the largest and most influential museums of modern art in the world. The MoMA Library includes approximately 300,000 books and exhibition catalogs, over 1,000 periodical titles, the archives holds primary source material related to the history of modern and contemporary art. The idea for The Museum of Modern Art was developed in 1929 primarily by Abby Aldrich Rockefeller and they became known variously as the Ladies, the daring ladies and the adamantine ladies. They rented modest quarters for the new museum in the Heckscher Building at 730 Fifth Avenue in Manhattan, and it opened to the public on November 7,1929, nine days after the Wall Street Crash. Abby had invited A. Conger Goodyear, the president of the board of trustees of the Albright Art Gallery in Buffalo, New York. At the time, it was Americas premier museum devoted exclusively to art. One of Abbys early recruits for the staff was the noted Japanese-American photographer Soichi Sunami. Goodyear enlisted Paul J. Sachs and Frank Crowninshield to join him as founding trustees, Sachs, the associate director and curator of prints and drawings at the Fogg Museum at Harvard University, was referred to in those days as a collector of curators. Goodyear asked him to recommend a director and Sachs suggested Alfred H. Barr, under Barrs guidance, the museums holdings quickly expanded from an initial gift of eight prints and one drawing. Its first successful exhibition was in November 1929, displaying paintings by Van Gogh, Gauguin, Cézanne. Abbys husband was opposed to the museum and refused to release funds for the venture. Nevertheless, he donated the land for the current site of the museum, plus other gifts over time. During that time it initiated many more exhibitions of noted artists, the museum also gained international prominence with the hugely successful and now famous Picasso retrospective of 1939–40, held in conjunction with the Art Institute of Chicago. In its range of presented works, it represented a significant reinterpretation of Picasso for future art scholars, Boy Leading a Horse was briefly contested over ownership with the Solomon R. Guggenheim Museum. In 1941, MoMA hosted the exhibition, Indian Art of the United States. His brother, David Rockefeller, also joined the board of trustees in 1948. David subsequently employed the noted architect Philip Johnson to redesign the garden and name it in honor of his mother
Museum of Modern Art
–
Museum of Modern Art
Museum of Modern Art
Museum of Modern Art
–
The entrance to The Museum of Modern Art
Museum of Modern Art
–
Stairs in the Museum of Modern Art
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