1.
Kris
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KRIS-TV is a NBC-affiliated television station for the Corpus Christi area of South Texas. It broadcasts a high definition signal on VHF channel 13 from a transmitter in Robstown. Owned by Cordillera Communications, the station is sister to low-power Independent K22JA-D, low-power Telemundo affiliate K68DJ, all four stations share studios on Artesian Street in Downtown Corpus Christi. KRIS-TV began broadcasting on May 22,1956 as the first VHF television station in the area beating former rival KZTV by four months and it aired an analog signal on VHF channel 6 and had studios on South Staples Street in Downtown Corpus Christi. The channel has always been an NBC affiliate but shared secondary ABC status with KZTV until KIII launched on May 4,1964, in 1989 it was a secondary Fox affiliate carrying a few shows during syndicated hours on the weekends. This ended in 1991 due to other affiliates becoming available on cable via Foxnet, KRIS-TV was the first television station in the United States to air hard liquor ads after a self-imposed 1948 industry ban was lifted. A commercial for Crown Royal whiskey aired on the station in 1996 featuring a puppy with a diploma, Cordillera Communications, A subsidiary of the Evening Post bought the station in 1998. On July 23,2008, Eagle Creek Broadcasting announced that it had sold KZTV to Cordillera Communications, the transaction was opposed by McKinnon Broadcasting who at the time owned rival KIII. This objection held up the deal until August 24,2009 when Eagle Creek announced a shared services agreement had established with KRIS. Cordillera Communications now owns all KZTV assets with Eagle Creek owning the broadcast license, the stations digital signal remained on its pre-transition VHF channel 13. Through the use of PSIP, digital television display the stations virtual channel as its former VHF analog channel 6. This transmitted on a frequency of 87.75 MHz, and as a result and this was true of all other analog channel 6 stations in North America. This is no longer possible for full-powered stations after the conversion to digital broadcasting, syndicated programming on KRIS-TV includes, Inside Edition, Steve Harvey, Ellen, and Jeopardy. After KZTV was purchased by KRIS-TVs parent company, KRIS-TV moved into KZTVs facilities in September 2010, due to technical issues with the move of the station, it was not able to air newscasts from September 26 until September 28. KRIS-TV unveiled a new high definition-ready set and graphics package on September 29,2010. The station has now become the areas first to air newscasts in 16x9 enhanced definition widescreen, as of October 16, KZTV now simulcasts KRIS-TVs weekday morning, noon, and weekend broadcasts after dropping its own shows in those time periods. For the weekend newscasts, however, there could be pre-emptions on one due to network obligations. On August 7,2011, KRIS began broadcasting news in True HD where the newscasts will be known as KRIS6 News In HD
2.
Royal Collection
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The Royal Collection is the art collection of the British Royal Family and the largest private art collection in the world. The Queen owns some objects in the collection in right of the Crown, the Queens Gallery at Buckingham Palace in London was built specially to exhibit pieces from the collection on a rotating basis. There is an art gallery next to the Palace of Holyroodhouse in Edinburgh. The Crown Jewels are on display in the Jewel House at the Tower of London. About 3,000 objects are on loan to museums throughout the world, few items from before King Henry VIII survive. The most important additions to the collection were made by Charles I, a collector of Italian paintings. Many works have been given from the collection to museums, especially by George III and Victoria, in particular, most of the then royal library was given by George III to the British Museum, now the British Library, where many books are still catalogued as Royal. The core of this collection was the purchase by James I of the collections of Humphrey Llwyd, Lord Lumley. Throughout the reign of Elizabeth II, there have been significant additions to the collection through purchases, bequests and through gifts from nation states. Numbering over 7,000 works, spread across the Royal Residences, numbering over 300 items, the Royal Collection holds one of the greatest and most important collections of French furniture ever assembled. The collection is noted for its range as well as counting the greatest cabinet-makers of the Ancien Régime. The Royal Collection is privately owned, although some of the works are displayed in areas of palaces, some of the collection is owned by the monarch personally, and everything else is described as being held in trust by the monarch in right of the Crown. All works of art acquired by monarchs up to the death of Queen Victoria in 1901 are heirlooms which fall into the latter category. Items the British royal family acquired later, including official gifts, ambiguity surrounds the status of objects that have come into Queen Elizabeth IIs possession during her reign. The Royal Collection Trust has confirmed that all pieces left to the Queen by the Queen Mother belong to her personally, non-personal items are said to be inalienable as they can only be willed to the monarchs successor. The legal accuracy of this claim has never been substantiated in court, in a 2000 television interview, the Duke of Edinburgh said that the Queen was technically, perfectly at liberty to sell them. In 1995, Iain Sproat, then Secretary of State for National Heritage, a registered charity, the Royal Collection Trust was set up in 1993 after the Windsor Castle fire with a mandate to conserve the works and enhance the publics appreciation and understanding of art. It employs around 500 staff and is one of the five departments of the Royal Household, buildings do not come under its remit
3.
Rembrandt
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Rembrandt Harmenszoon van Rijn was a Dutch draughtsman, painter, and printmaker. A prolific and versatile master across three media, he is considered one of the greatest visual artists in the history of art. Having achieved youthful success as a painter, Rembrandts later years were marked by personal tragedy. Yet his etchings and paintings were popular throughout his lifetime, his reputation as an artist remained high, Rembrandts portraits of his contemporaries, self-portraits and illustrations of scenes from the Bible are regarded as his greatest creative triumphs. His self-portraits form a unique and intimate biography, in which the artist surveyed himself without vanity and his reputation as the greatest etcher in the history of the medium was established in his lifetime, and never questioned since. Few of his paintings left the Dutch Republic whilst he lived, but his prints were circulated throughout Europe, because of his empathy for the human condition, he has been called one of the great prophets of civilization. Rembrandt Harmenszoon van Rijn was born on 15 July 1606 in Leiden, in the Dutch Republic and he was the ninth child born to Harmen Gerritszoon van Rijn and Neeltgen Willemsdochter van Zuijtbrouck. His family was quite well-to-do, his father was a miller, religion is a central theme in Rembrandts paintings and the religiously fraught period in which he lived makes his faith a matter of interest. His mother was Roman Catholic, and his father belonged to the Dutch Reformed Church, unlike many of his contemporaries who traveled to Italy as part of their artistic training, Rembrandt never left the Dutch Republic during his lifetime. He opened a studio in Leiden in 1624 or 1625, which he shared with friend, in 1627, Rembrandt began to accept students, among them Gerrit Dou in 1628. In 1629, Rembrandt was discovered by the statesman Constantijn Huygens, as a result of this connection, Prince Frederik Hendrik continued to purchase paintings from Rembrandt until 1646. He initially stayed with an art dealer, Hendrick van Uylenburgh, Saskia came from a good family, her father had been a lawyer and the burgemeester of Leeuwarden. When Saskia, as the youngest daughter, became an orphan, Rembrandt and Saskia were married in the local church of St. Annaparochie without the presence of Rembrandts relatives. In the same year, Rembrandt became a burgess of Amsterdam and he also acquired a number of students, among them Ferdinand Bol and Govert Flinck. In 1635 Rembrandt and Saskia moved into their own house, renting in fashionable Nieuwe Doelenstraat, in 1639 they moved to a prominent newly built house in the upscale Breestraat, today known as Jodenbreestraat in what was becoming the Jewish quarter, then a young upcoming neighborhood. The mortgage to finance the 13,000 guilder purchase would be a cause for later financial difficulties. Rembrandt should easily have been able to pay the house off with his income, but it appears his spending always kept pace with his income. It was there that Rembrandt frequently sought his Jewish neighbors to model for his Old Testament scenes, in 1640, they had a second daughter, also named Cornelia, who died after living barely over a month
4.
Self-portrait
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A self-portrait is a representation of an artist that is drawn, painted, photographed, or sculpted by that artist. With better and cheaper mirrors, and the advent of the panel portrait, Portrait of a Man in a Turban by Jan van Eyck of 1433 may well be the earliest known panel self-portrait. He painted a portrait of his wife, and he belonged to the social group that had begun to commission portraits. The genre is venerable, but not until the Renaissance, with increased wealth and interest in the individual as a subject, a self-portrait may be a portrait of the artist, or a portrait included in a larger work, including a group portrait. Many painters are said to have included depictions of specific individuals, including themselves, in these works, the artist usually appears as a face in the crowd or group, often towards the edges or corner of the work and behind the main participants. Rubenss The Four Philosophers is a good example and this culminated in the 17th century with the work of Jan de Bray. Many artistic media have used, apart from paintings, drawings. In the famous Arnolfini Portrait, Jan van Eyck is probably one of two figures glimpsed in a mirror – a surprisingly modern conceit. The Van Eyck painting may have inspired Diego Velázquez to depict himself in view as the painter creating Las Meninas, as the Van Eyck hung in the palace in Madrid where he worked. This was another modern flourish, given that he appears as the painter, in what may be one of the earliest childhood self-portraits now surviving, Albrecht Dürer depicts himself as in naturalistic style as a 13-year-old boy in 1484. In later years he appears variously as a merchant in the background of Biblical scenes, leonardo da Vinci may have drawn a picture of himself at the age of 60, in around 1512. The picture is often reproduced as Da Vincis appearance, although this is not certain. In the 17th century, Rembrandt painted a range of self-portraits, family and professional group paintings, including the artists depiction, became increasingly common from the 17th century on. From the later 20th century on, video plays a part in self-portraiture. Vigée-Lebrun painted a total of 37 self-portraits, many of which were copies of earlier ones, Women artists have historically embodied a number of roles within their self-portraiture. Most common is the artist at work, showing themselves in the act of painting, or at least holding a brush and palette. Often, the viewer if the clothes worn were those they normally painted in. Images of artists at work are encountered in Ancient Egyptian painting, one of the first self-portraits was made by the Pharaoh Akhenatens chief sculptor Bak in 1365 BC
5.
Etching
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Etching is traditionally the process of using strong acid or mordant to cut into the unprotected parts of a metal surface to create a design in intaglio in the metal. In modern manufacturing, other chemicals may be used on other types of material, as a method of printmaking, it is, along with engraving, the most important technique for old master prints, and remains in wide use today. In a number of variants such as microfabrication etching and photochemical milling it is a crucial technique in much modern technology. In traditional pure etching, a plate is covered with a waxy ground which is resistant to acid. The artist then scratches off the ground with an etching needle where he or she wants a line to appear in the finished piece. The échoppe, a tool with an oval section, is also used for swelling lines. The plate is dipped in a bath of acid, technically called the mordant or etchant. The acid bites into the metal where it is exposed, leaving behind lines sunk into the plate, the remaining ground is then cleaned off the plate. The plate is inked all over, and then the ink wiped off the surface, the plate is then put through a high-pressure printing press together with a sheet of paper. The paper picks up the ink from the lines, making a print. The process can be repeated many times, typically several hundred impressions could be printed before the shows much sign of wear. The work on the plate can also be added to by repeating the whole process, Etching has often been combined with other intaglio techniques such as engraving or aquatint. The process as applied to printmaking is believed to have been invented by Daniel Hopfer of Augsburg, Hopfer was a craftsman who decorated armour in this way, and applied the method to printmaking, using iron plates. Apart from his prints, there are two examples of his work on armour, a shield from 1536 now in the Real Armeria of Madrid. The switch to copper plates was made in Italy. On the other hand, the handling of the ground and acid need skill and experience, prior to 1100 AD, the New World Hohokam independently utilized the technique of acid etching in marine shell designs. Jacques Callot from Nancy in Lorraine made important technical advances in etching technique and he developed the échoppe, a type of etching-needle with a slanting oval section at the end, which enabled etchers to create a swelling line, as engravers were able to do. Callot also appears to have responsible for an improved, harder, recipe for the etching ground
6.
Rubens
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Sir Peter Paul Rubens was a Flemish/Netherlandish draughtsman and painter. He is widely considered as the most notable artist of Flemish Baroque art school, the catalogue of his works by Michael Jaffé lists 1,403 pieces, excluding numerous copies made in his workshop. His commissioned works were mostly history paintings, which included religious and mythological subjects and he painted portraits, especially of friends, and self-portraits, and in later life painted several landscapes. Rubens designed tapestries and prints, as well as his own house and he also oversaw the ephemeral decorations of the royal entry into Antwerp by the Cardinal-Infante Ferdinand in 1635. His drawings are mostly extremely forceful but not overly detailed and he also made great use of oil sketches as preparatory studies. For altarpieces he painted on slate to reduce reflection problems. Rubens was born in the city of Siegen to Jan Rubens and he was named in honour of Saint-Peter and Paul, because he was born on their solemnety. His father, a Calvinist, and mother fled Antwerp for Cologne in 1568, after increased religious turmoil and persecution of Protestants during the rule of the Spanish Netherlands by the Duke of Alba. Jan Rubens became the adviser of Anna of Saxony, the second wife of William I of Orange. Following Jan Rubens imprisonment for the affair, Peter Paul Rubens was born in 1577, the family returned to Cologne the next year. In 1589, two years after his fathers death, Rubens moved with his mother Maria Pypelincks to Antwerp, religion figured prominently in much of his work and Rubens later became one of the leading voices of the Catholic Counter-Reformation style of painting. In Antwerp, Rubens received a Renaissance humanist education, studying Latin, by fourteen he began his artistic apprenticeship with Tobias Verhaeght. Subsequently, he studied under two of the leading painters of the time, the late Mannerist artists Adam van Noort. Much of his earliest training involved copying earlier works, such as woodcuts by Hans Holbein the Younger. Rubens completed his education in 1598, at time he entered the Guild of St. Luke as an independent master. In 1600 Rubens travelled to Italy and he stopped first in Venice, where he saw paintings by Titian, Veronese, and Tintoretto, before settling in Mantua at the court of Duke Vincenzo I Gonzaga. The colouring and compositions of Veronese and Tintoretto had an effect on Rubenss painting. With financial support from the Duke, Rubens travelled to Rome by way of Florence in 1601, there, he studied classical Greek and Roman art and copied works of the Italian masters
7.
Rembrandt Research Project
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The Rembrandt Research Project is an initiative of the Nederlandse Organisatie voor Wetenschappelijk Onderzoek, which is the Netherlands Organization for Scientific Research. Its purpose is to organize and categorize research on Rembrandt, with the aim of discovering new facts about this Dutch Golden Age painter, the project was started in 1968, but has since become the authority on Rembrandt and has final say in whether a painting is genuine. Also, more paintings have been attributed to working in the Rembrandt studio. Recently, period copies of Rembrandt paintings are being studied for clues as to whether certain copies were factory-style pieces for visiting functionaries. Rembrandts work was in demand for decades, and he managed to keep productivity up while also keeping his prices high by enforcing strict quality control on the work done in his studio. The projects six-volume publication, A Corpus of Rembrandt Paintings, is considered the authority by all auction houses and dealers who work with works by Rembrandt. However, the project has also initiated debate about the feasibility of conclusive attribution, Ernst van de Wetering, Barbara de Lange, Rembrandt in Nieuw Licht, Local World, Amsterdam,2009, ISBN 978-90-811681-7-5. The research project is also the point of reference regarding concordance with other catalogs of the masters works, though most of these reference each other. Below is a partial list of some commonly quoted catalogs, Catalogue extracted from the Register L R. fol, ploos van Amstel, J. Cz. welke in het openbaar zullen verkogt worden, C. This painting was first cataloged in 1917 by Abraham Bredius, who accepted it as a Rembrandt, later Kurt Bauch rejected this based on a photograph and attributed it to Jan Lievens without ever having seen the painting. Werner Sumowski re-attributed the painting based on photographs to Rousseaux as a rebuttal to the arguments by art historians Bauch, Jakob Rosenberg, the Rembrandt Research project seeks to avoid such arguments by making attributions based on historical and forensic evidence. The study of Rembrandts oevre includes study of drawings and etchings as well as paintings by a range of artists who were Rembrandts contemporaries. The pAn 1998 catalog contains an article by Ernst van de Wetering with fotos of other depictions of the man by Jan Lievens, Gerard Dou. The man has clearly the face in all four portraits. According to Van de Wetering, this is the man referred to as Rembrandts father, who was probably not his father. In early 2011, the RRP board voted to terminate the project by the end of 2011 even though approximately one-quarter of Rembrandts oeuvre has not yet been investigated. A major reason for this decision was the lack of available to assume responsibilities from the RRPs chair, Ernst van de Wetering. Other reasons cited included lack of funding, as the Netherlands Organisation for Scientific Research ceased funding the project in 1998
8.
Tronie
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A tronie is a common type, or group of types, of works common in Dutch Golden Age painting and Flemish Baroque painting that shows an exaggerated facial expression or a stock character in costume. The term tronie is not clearly defined in art historical literature, literary and archival sources show that initially the term tronie was not always associated with people. Inventories sometimes referred to flower and fruit still lifes as tronies, more common was the meaning of face. Often the term referred to the head, even a bust. A tronie could be two-dimensional, but also made of plaster or stone, sometimes a tronie was a likeness, the depiction of an individual, including the face of God, Christ, Mary, a saint or an angel. In particular a tronie denoted the characteristic appearance of the head of a type, for example a farmer, Tronie sometimes meant a grotesque head or a model such as the type of an ugly old person. When conceived as the face of an individual and of a type a tronies aim was to express feelings and character in an accurate manner and must therefore be expressive. In modern art-historical usage the term tronie is typically restricted to figures not intended to depict an identifiable person, the picture was typically sold on the art market without identification of the sitter, and was not commissioned and retained by the sitter as portraits normally were. Similar unidentified figures treated as history paintings would normally be given a title from the classical world, the genre started in the Low Countries in the 16th century where it was likely inspired by some of the grotesque heads drawn by Leonardo. Leonardo had pioneered drawings of paired grotesque heads whereby two heads, usually in profile, were placed opposite each other in order to accentuate their diversity and this paired juxtaposition was also adopted by artists in the Low Countries. In 1564 or 1565 Joannes and Lucas van Doetecum are believed to have engraved 72 heads attributed to Pieter Brueghel the Elder that followed this paired arrangement and this paired model was still being used by some artists in the 17th century. For instance, the Flemish artist Jan van de Venne who was active in the first half of the 17th century painted a number of tronies juxtaposing different faces, several Rembrandt self-portrait etchings are tronies, as are paintings of himself, his son and his wives. Other definitions would include the studies in facial expression and less-finished etchings with costume, three Vermeer paintings were described as tronies in the Dissius auction of 1696, perhaps including the Girl with a Pearl Earring and the Washington Young Girl with a flute. Frans Hals also painted a number of tronies, which are now among his best-known works, adriaen Brouwer was one of the most successful practitioners of the genre as he had a talent for expressiveness. His work gave a face to lower-class figures by infusing their images with recognizable and vividly expressed human emotions—anger, joy, pain and his Youth Making a Face shows a young man with a satirical and mocking gesture which humanises him, however uninviting he may appear. Brouwers vigorous application of paint in this composition, with his characteristically short, genre painters often returned to the old theme of the allegory of the five senses and created series of tronies depicting the five senses. Examples are Lucas Franchoys the Youngers A man removing a plaster, the tronie is related to, and has some overlap with, the portrait historié, a portrait of a real person as another, usually historical or mythological, figure. Jan de Bray specialised in these, and many portraitists sometimes showed aristocratic ladies in particular as mythological figures, ISBN 978-3-7861-2567-9 Gottwald, Franziska, Das Tronie
9.
Fancy dress
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Costume is the distinctive style of dress of an individual or group that reflects their class, gender, profession, ethnicity, nationality, activity or epoch. The term also was used to describe typical appropriate clothing for certain activities, such as riding costume, swimming costume, dance costume. Appropriate and acceptable costume is subject to changes in fashion and local cultural norms, before the advent of ready-to-wear apparel, clothing was made by hand. Costume comes from the same Italian word, inherited via French, National costume or regional costume expresses local identity and emphasizes a cultures unique attributes. They are often a source of national pride, examples include the Scottish kilt or Japanese kimono. In Bhutan there is a national dress prescribed for men and women. These have been in vogue for thousands of years and have developed into a dress style. The dress worn by men is known as Gho which is a robe worn up to knee-length and is fastened at the waist by a called the Kera. The front part of the dress which is formed like a pouch, in olden days was used to hold baskets of food and short dagger, but now it is used to keep cell phone, purse and the betel nut called Doma. The dress worn by women consist of three known as Kira, Tego and Wonju. The long dress which extends up to the ankle is Kira, the jacket worn above this is Tego which is provided with Wonju, the inner jacket. However, while visiting the Dzong or monastery a long scarf or stoll, called Kabney is worn by men across the shoulder, women also wear scarfs or stolls called Rachus, made of raw silk with embroidery, over their shoulder but not indicative of their rank. Some stylized theatrical costumes, such as Harlequin and Pantaloon in the Commedia dellarte, exaggerate an aspect of a character, the wearing of costumes is an important part of holidays developed from religious festivals such as Mardi Gras, and Halloween. Christmas costumes typically portray characters such as Santa Claus, in Australia, the United Kingdom and the United States the American version of a Santa suit and beard is popular, in the Netherlands, the costume of Zwarte Piet is customary. Easter costumes are associated with the Easter Bunny or other animal costumes, in Judaism, a common practice is to dress up on Purim. During this holiday, Jews celebrate the change of their destiny and they were delivered from being the victims of an evil decree against them and were instead allowed by the King to destroy their enemies. A quote from the Book of Esther, which says, On the contrary is the reason that wearing a costume has become customary for this holiday. Buddhist religious festivals in Tibet, Bhutan, Mongolia and Lhasa and Sikkim in India perform the Cham dance, parades and processions provide opportunities for people to dress up in historical or imaginative costumes
10.
Kenneth Clark
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Clark was born in London, the only child of Kenneth MacKenzie Clark and Margaret Alice McArthur. The Clarks were a wealthy Scottish family with roots in the textile trade and his great-great-grandfather had invented the cotton spool. Kenneth Clark the elder, reputedly the man who broke the bank at Monte Carlo, had retired in 1909 at the age of 41 to become a member of the idle rich. Clark was educated at Wixenford School, Winchester College and Trinity College, Oxford, in 1927 he married a fellow Oxford student, Elizabeth Jane Martin, who was Irish and the daughter of Dr. Emily Winifred Dickson, first female Fellow of the Royal College of Surgeons. The couple had three children, Alan, in 1928, and twins Colette and Colin in 1932, greatly influenced by John Ruskin and a protégé of the most influential art critic of the time, Bernard Berenson, Clark quickly became the British art establishments most respected aesthete. After a stint as fine art curator at Oxfords Ashmolean Museum, in 1933 at age 30 and he remains the youngest person ever to hold the post. The following year he also became Surveyor of the Kings Pictures, as Director of the National Gallery he oversaw the successful relocation and storage of the collection to avoid the Blitz and continued a programme of concerts and performances. In 1939, Clark visited Australia, and later referred to it as that intolerable continent, adding that Australian galleries had the worst art, as Director of The National Gallery he wrote Southampton Art Gallerys acquisitions policy which included a growing collection of modern oil paintings. He was also an advisor to the Ministry of Information commissioning Dylan Thomas amongst others to write scripts for propaganda films, in 1946 Clark resigned his directorship in order to devote more time to writing. Between 1946 and 1950 he was Slade Professor of Fine Art at Oxford. He was a board member and also served as Chairman of the Arts Council of Great Britain from 1955 to 1960. In the preface to his book, The Nude, a study of art, Clark wrote. There is difficulty of form, a survey would be long and repetitive. And there is a difficulty of scope, since Jacob Burckhardt no responsible art historian would have attempted to cover both antique and post-mediaeval art, in 1955, Clark bought Saltwood Castle in Kent. Kenneth Clark was created Knight Commander of the Order of the Bath in 1938 and he was appointed to the Order of Merit in 1976. In 1959, he received the Grand Decoration with Sash for Services to the Republic of Austria and he was one of the founders, in 1954, of the Independent Television Authority, serving as its Chairman until 1957. In 1969 he wrote and presented Civilisation for BBC television, a series on the history of Western civilisation as seen through its art, afterwards Clark was persuaded to write a book version of Civilisation but lamented that without the visual and musical accompaniment it was weak. Also broadcast in the US on PBS in 1969, Civilisation was successful on both sides of the Atlantic, gaining Clark an international profile, according to Clark, the series was created in answer to growing criticism of Western civilisation, from its value system to its heroes
11.
Van Gogh
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Vincent Willem van Gogh was a Dutch Post-Impressionist painter who is among the most famous and influential figures in the history of Western art. In just over a decade he created about 2,100 artworks, including around 860 oil paintings and his suicide at 37 followed years of mental illness and poverty. Born into a family, Van Gogh drew as a child and was serious, quiet. As a young man he worked as an art dealer, often travelling and he turned to religion, and spent time as a Protestant missionary in southern Belgium. He drifted in ill health and solitude before taking up painting in 1881 and his younger brother Theo supported him financially, and the two kept up a long correspondence by letter. His early works, mostly still lifes and depictions of peasant labourers, in 1886 he moved to Paris, where he met members of the avant-garde, including Émile Bernard and Paul Gauguin, who were reacting against the Impressionist sensibility. As his work developed he created a new approach to still lifes and his paintings grew brighter in colour as he developed a style that became fully realised during his stay in Arles in the south of France in 1888. During this period he broadened his subject matter to include trees, cypresses, wheat fields. Van Gogh suffered from episodes and delusions and though he worried about his mental stability, he often neglected his physical health, did not eat properly. His friendship with Gauguin ended after a confrontation with a razor and he spent time in psychiatric hospitals, including a period at Saint-Rémy. After he discharged himself and moved to the Auberge Ravoux in Auvers-sur-Oise near Paris and his depression continued and on 27 July 1890, Van Gogh shot himself in the chest with a revolver. He died from his injuries two days later, Van Gogh was unsuccessful during his lifetime, and was considered a madman and a failure. He became famous after his suicide, and exists in the imagination as the quintessential misunderstood genius. His reputation began to grow in the early 20th century as elements of his style came to be incorporated by the Fauves. The most comprehensive source on Van Gogh is the correspondence between him and his younger brother, Theo. Their lifelong friendship, and most of what is known of Vincents thoughts, Theo van Gogh was an art dealer and provided his brother with financial and emotional support, and access to influential people on the contemporary art scene. Theo kept all of Vincents letters to him, Vincent kept few of the letters he received, after both had died, Theos widow Johanna arranged for the publication of some of their letters. A few appeared in 1906 and 1913, the majority were published in 1914, Vincents letters are eloquent and expressive and have been described as having a diary-like intimacy, and read in parts like autobiography
12.
Titus van Rijn
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Titus van Rijn was the fourth and only surviving child of Rembrandt Harmenszoon van Rijn and Saskia van Uylenburgh. Titus is best known as a figure or model in his fathers paintings, Titus van Rijn was born in Amsterdam on September 22,1641, the fourth child of the famed artist Rembrandt van Rijn and his wife Saskia van Uylenburgh. After Rembrandts bankruptcy in 1656, Titus and his stepmother, Hendrickje Stoffels, were named in charge of Rembrandts affairs and began an art-dealership, at age 15, Titus made a will at his fathers insistence, making his father sole heir. In 1668, Titus married Magdalena van Loo and her father was Jan van Loo, silversmith, whose brother was Gerrit van Loo, a lawyer in Het Bildt. The couple lived at Magdalenas mothers house on the Singel and they had one daughter, Titia, who married François van Bijler in 1686. Titus van Rijn died in 1668 and was buried in the Westerkerk in Amsterdam and his wife, mother-in-law, and father all died a year later. Media related to Titus van Rijn at Wikimedia Commons Amsterdam City Archive
13.
J. Paul Getty Museum
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The J. Paul Getty Museum, commonly referred to as the Getty, is an art museum in California housed on two campuses, the Getty Center and Getty Villa. The Getty Center is in the Brentwood neighborhood of Los Angeles and is the location of the museum. The collection features Western art from the Middle Ages to the present and its estimated 1.3 million visitors annually make it one of the most visited museums in the United States. The museums second location, the Getty Villa, is in the Pacific Palisades neighborhood and displays art from ancient Greece, Rome, and Etruria. In 1974, J. Paul Getty opened a museum in a re-creation of the Villa of the Papyri at Herculaneum on his property in Pacific Palisades, in 1982, the museum became the richest in the world when it inherited US$1.2 billion. In 1997, the moved to its current location in the Brentwood neighborhood of Los Angeles. Detailed information about the J. Paul Getty Museum’s collections is provided on GettyGuide, at the GettyGuide stations in the Museum, visitors can get information about exhibitions, interact with a timeline, watch videos on art-making techniques, and more. Also available at the Museum, the GettyGuide multimedia player features commentary from curators and conservators on many works of art, with GettyGuide on the Web, one may browse the Museum’s collection and bookmark works of art to create a customized tour and printable map. In 1984, Frel was demoted, and in 1986, he resigned, the Getty is involved in a controversy regarding proper title to some of the artwork in its collection. The museums previous curator of antiquities, Marion True, was indicted in Italy in 2005 on criminal charges relating to trafficking in stolen antiquities, similar charges have been addressed by the Greek authorities. The primary evidence in the case came from the 1995 raid of a Geneva, Switzerland, in 2005 True was forced to tender her resignation by the Board of Trustees, which announced her early retirement. Italy allowed the statute of limitations of the charges filed against her to expire in October 2010, True is currently under investigation by Greek authorities over the acquisition of a 2, 500-year-old funerary wreath. The wreath, along with a 6th-century BC statue of a woman, have returned to Greece and are exhibited at the Archaeological Museum of Thessaloniki. The Getty Museum resisted the requests of the Italian government for two decades, only to admit later that there might be problems attached to the acquisition. In 2006, Italian senior cultural official Giuseppe Proietti said, The negotiations havent made a step forward. Only after he suggested the Italian government to take cultural sanctions against the Getty, suspending all cultural cooperation, in another unrelated case in 1999, the Getty Museum had to hand over three antiquities to Italy after determining they were stolen. A Summary Catalogue of European Decorative Arts in the J. Paul Getty Museum was published in 2001, indeed, some discrete works are provided with annotations, e. g. In 2016, the head of the Greek god Hades was returned to Sicily
14.
Los Angeles
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Los Angeles, officially the City of Los Angeles and often known by its initials L. A. is the cultural, financial, and commercial center of Southern California. With a census-estimated 2015 population of 3,971,883, it is the second-most populous city in the United States, Los Angeles is also the seat of Los Angeles County, the most populated county in the United States. The citys inhabitants are referred to as Angelenos, historically home to the Chumash and Tongva, Los Angeles was claimed by Juan Rodríguez Cabrillo for Spain in 1542 along with the rest of what would become Alta California. The city was founded on September 4,1781, by Spanish governor Felipe de Neve. It became a part of Mexico in 1821 following the Mexican War of Independence, in 1848, at the end of the Mexican–American War, Los Angeles and the rest of California were purchased as part of the Treaty of Guadalupe Hidalgo, thereby becoming part of the United States. Los Angeles was incorporated as a municipality on April 4,1850, the discovery of oil in the 1890s brought rapid growth to the city. The completion of the Los Angeles Aqueduct in 1913, delivering water from Eastern California, nicknamed the City of Angels, Los Angeles is known for its Mediterranean climate, ethnic diversity, and sprawling metropolis. Los Angeles also has an economy in culture, media, fashion, science, sports, technology, education, medicine. A global city, it has been ranked 6th in the Global Cities Index, the city is home to renowned institutions covering a broad range of professional and cultural fields, and is one of the most substantial economic engines within the United States. The Los Angeles combined statistical area has a gross metropolitan product of $831 billion, making it the third-largest in the world, after the Greater Tokyo and New York metropolitan areas. The city has hosted the Summer Olympic Games in 1932 and 1984 and is bidding to host the 2024 Summer Olympics and thus become the second city after London to have hosted the Games three times. The Los Angeles area also hosted the 1994 FIFA mens World Cup final match as well as the 1999 FIFA womens World Cup final match, the mens event was watched on television by over 700 million people worldwide. The Los Angeles coastal area was first settled by the Tongva, a Gabrielino settlement in the area was called iyáangẚ, meaning poison oak place. Gaspar de Portolà and Franciscan missionary Juan Crespí, reached the present site of Los Angeles on August 2,1769, in 1771, Franciscan friar Junípero Serra directed the building of the Mission San Gabriel Arcángel, the first mission in the area. The Queen of the Angels is an honorific of the Virgin Mary, two-thirds of the settlers were mestizo or mulatto with a mixture of African, indigenous and European ancestry. The settlement remained a small town for decades, but by 1820. Today, the pueblo is commemorated in the district of Los Angeles Pueblo Plaza and Olvera Street. New Spain achieved its independence from the Spanish Empire in 1821, during Mexican rule, Governor Pío Pico made Los Angeles Alta Californias regional capital
15.
Chiaroscuro
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Chiaroscuro is an oil painting technique, developed during the Renaissance, that uses strong tonal contrasts between light and dark to model three-dimensional forms, often to dramatic effect. The underlying principle is that solidity of form is best achieved by the light falling against it, artists known for developing the technique include Leonardo da Vinci, Caravaggio, and Rembrandt. It is a mainstay of black and white photography and these in turn drew on traditions in illuminated manuscripts going back to late Roman Imperial manuscripts on purple-dyed vellum. Such works used to be called chiaroscuro drawings, but are often described in modern museum terminology by such formulae as pen on prepared paper. Chiaroscuro woodcuts began as imitations of this technique, when discussing Italian art, the term sometimes is used to mean painted images in monochrome or two colours, more generally known in English by the French equivalent, grisaille. The term broadened in meaning early on to cover all strong contrasts in illumination between light and dark areas in art, which is now the primary meaning. The invention of these effects in the West, skiagraphia or shadow-painting to the Ancient Greeks, traditionally was ascribed to the famous Athenian painter of the fifth century BC, Apollodoros. Chose her place to sit for that purpose in the alley of a goodly garden. In drawings and prints, modelling chiaroscuro often is achieved by the use of hatching, washes, stipple or dotting effects, and surface tone in printmaking are other techniques. Chiaroscuro woodcuts are old master prints in woodcut using two or more blocks printed in different colours, they do not necessarily feature strong contrasts of light and they were first produced to achieve similar effects to chiaroscuro drawings. Other printmakers to use the technique include Hans Wechtlin, Hans Baldung Grien, in Germany the technique achieved its greatest popularity around 1520, but it was used in Italy throughout the sixteenth century. Later artists such as Goltzius sometimes made use of it, in most German two-block prints, the keyblock was printed in black and the tone block or blocks had flat areas of colour. In Italy, chiaroscuro woodcuts were produced without keyblocks to achieve a different effect. Manuscript illumination was, as in areas, especially experimental in attempting ambitious lighting effects since the results were not for public display. The development of compositional chiaroscuro received an impetus in northern Europe from the vision of the Nativity of Jesus of Saint Bridget of Sweden. Hugo van der Goes and his followers painted many scenes lit only by candle or the light from the infant Christ. As with some later painters, in their hands the effect was of stillness, strong chiaroscuro became a popular effect during the sixteenth century in Mannerism and Baroque art. Divine light continued to illuminate, often rather inadequately, the compositions of Tintoretto, Veronese, tenebrism was especially practiced in Spain and the Spanish-ruled Kingdom of Naples, by Jusepe de Ribera and his followers
16.
Self-Portrait (Rembrandt, 1629)
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This 1629 self-portrait by Dutch painter Rembrandt van Rijn is part of the Clowes Fund Collection of the Indianapolis Museum of Art in Indianapolis, Indiana. It is among the earliest of over 40 self-portraits by Rembrandt and this is a portrait of studied spontaneity. His parted lips, tilted head, and leaning posture all evoke a moment of surprise and sudden animation and he wears what can best be described as a costume, culled from his collection of studio attire. This includes a scarf, a cap pulled low to give Rembrandt a dramatic shadow over his brow, since Rembrandt never served in the militia, the gorget is sheer affectation. Although he was only twenty-three when he made this painting, Rembrandt utilized an array of artistic techniques to fill it with emotion. Already, his characteristic lighting and dense atmosphere are visible and he used nearly monochromatic hues and incisive brushwork, delineating individual strands of hair by scratching into the wet paint, to create this emotionally charged portrait. Studies such as this enabled him to create his great works of art. At the time of this creation, Rembrandt was still a young, uncelebrated painter in his hometown. Working as the master of his own workshop, he honed his craft. Rembrandts followers endlessly emulated his self-portraits, creating a whole subgenre eagerly sought by collectors, Rembrandt often used his self-portraits as teaching aids for his students, having them produce countless copies and variants both for their own edification and because they sold quite well. There are no fewer than five copies of this particular painting, Art historian Abraham Bredius, who discovered it in a castle near Lvov in 1897, first presented it as an authentic Rembrandt, but his definitive Rembrandt catalogue reversed that opinion in 1969. Other scholars weighed in on both sides, before and after a 1966 cleaning, technical examinations including X-radiography in 1979 settled the matter, and the work is now accepted as Rembrandts own. The X-radiographs revealed extensive pentimenti where Rembrandt altered the angles of his shoulders and head and this indicates that the work is an original composition, rather than a mere copy. There is further evidence in favor of this attribution which does not require advanced equipment to discern. The painting bears the monogram RHL, which was used by Rembrandt during his years in Leiden and these initials were added when the paint was still wet, and do not appear on any of the copies. Furthermore, this portrait includes several blemishes on Rembrandts chin, while he himself always recorded his face with all its wrinkles and imperfections, his students tended to gloss over such evidence of humanity. Clowes purchased this painting in 1951, ending its circulation among the families of Poland. The Clowes family gave it to the IMA in 1959 and it has the accession number C10063 and is currently on view in the Clowes Pavilion
17.
Indianapolis Museum of Art
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The Indianapolis Museum of Art is an encyclopedic art museum located in Indianapolis, Indiana, United States. The museum, which underwent a $74 million expansion in 2005, is located on a 152-acre campus on the near northwest area outside downtown Indianapolis, the Indianapolis Museum of Art is the ninth oldest and eighth largest encyclopedic art museum in the United States. The permanent collection comprises over 54,000 works, including African, American, Asian, M. W. Turner, and a growing contemporary art collection. Other areas of emphasis include textiles and fashion arts as well as a recent focus on modern design, in addition to its collections, the museum consists of 100 Acres, The Virginia B. The IMA also owns the Miller House, a Mid-Century modern home designed by Eero Saarinen and located in Columbus, the museums holdings demonstrate the institutions emphasis on the connections among art, design, and the natural environment. Founded in 1883 by the Art Association of Indianapolis, the first permanent museum was opened in 1906 as part of the John Herron Art Institute, among the Art Associations founders was May Wright Sewall, known for her work in the womens suffrage movement. Other supporters have included Booth Tarkington, Eli Lilly, Herman C, the associated John Herron Art Institute was established with the help of notable Hoosier Group artists T. C. Dr. Charles L. Venable is the current Melvin and Bren Simon Director, the museum is widely recognized as innovative in its development of open source technologies, institutional transparency, and collaboration between museums. In 2008, the IMA became the first fine art museum to be named an Energy Star partner due to its greening initiative and efforts to reduce energy consumption. In 2009, the IMA was awarded the National Medal for Museum and Library Service for public service, specifically the museums free admission policy, the Indianapolis Museum of Art was founded as the Art Association of Indianapolis, an open-membership group led by the suffragist May Wright Sewall. Formed in 1883, the organization aimed to inform the public about visual art, the Art Associations first exhibition, which opened November 7,1883, contained 453 artworks from 137 artists. The death of wealthy Indianapolis resident John Herron in 1895 left a substantial bequest with the stipulation that the money be used for a gallery, the John Herron Art Institute opened in 1902 at the corner of 16th and Pennsylvania street. Emphasis on the Arts and Crafts movement grew throughout the years of the school. William Henry Fox was hired in 1905 as the Art Institutes first director, from 1905 to 1910, Fox managed both the museum and the school while constructing two new buildings on the 16th street site. From the 1930s until the 1950s, the John Herron Art Institute placed an emphasis on professionalism, wilbur Peat, director of the museum from 1929 until 1965, acquired significant portions of the collection. Peat also made connections with such as Dr. George H. A. Clowes, Booth Tarkington. After years of debate surrounding expansion and relocation of the museum and school, Lilly III and Ruth Lilly, donated the family estate, Oldfields, to the Art Association of Indianapolis in 1966. One year later it was decided that the school would become a part of Indiana Universitys Indianapolis campus in an effort to assist with accreditation
18.
Indianapolis
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Indianapolis, is the capital and largest city of the U. S. state of Indiana and the seat of Marion County. It is in the East North Central region of the Midwestern United States, with an estimated population of 853,173 in 2015, Indianapolis is the second most populous city in the Midwest, after Chicago, and 14th largest in the U. S. The city is the economic and cultural center of the Indianapolis metropolitan area, home to 2 million people and its combined statistical area ranks 26th, with 2.4 million inhabitants. Indianapolis covers 372 square miles, making it the 16th largest city by area in the U. S. The city grew beyond the Mile Square, as completion of the National Road and advent of the railroad solidified the position as a manufacturing. Indianapolis is within a single-day drive of 70 percent of the nations population, Indianapolis has developed niche markets in amateur sports and auto racing. The city is perhaps best known for hosting the worlds largest single-day sporting event. The city is notable as headquarters for the American Legion and home to a significant collection of monuments dedicated to veterans and war dead, the most in the U. S. outside of Washington, D. C. Since the 1970 city-county consolidation, known as Unigov, local government administration has operated under the direction of an elected 25-member city-county council, Indianapolis is considered a high sufficiency global city. In 1816, the year Indiana gained statehood, the U. S. Congress donated four sections of land to establish a permanent seat of state government. Two years later, under the Treaty of St. Marys and this tract of land, which was called the New Purchase, included the site selected for the new state capital in 1820. The availability of new lands for purchase in central Indiana attracted settlers. Although many of these first European and American setters were Protestants, few African Americans lived in central Indiana before 1840. The first European Americans to permanently settle in the area that became Indianapolis were either the McCormick or Pogue families, on January 11,1820, the Indiana General Assembly authorized a committee to select a site in central Indiana for the new state capital. The state legislature approved the site, adopting the name Indianapolis on January 6,1821, in April, Alexander Ralston and Elias Pym Fordham were appointed to survey and design a town plan for the new settlement. Indianapolis became a seat of county government on December 31,1821, a combined county and town government continued until 1832, when Indianapolis incorporated as a town. Indianapolis became an incorporated city effective March 30,1847, Samuel Henderson, the citys first mayor, led the new city government, which included a seven-member city council. In 1853, voters approved a new city charter provided for an elected mayor
19.
Germanisches Nationalmuseum
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The Germanisches Nationalmuseum is a museum in Nuremberg, Germany. Founded in 1852, it houses a collection of items relating to German culture. The Germanisches Nationalmuseum is Germanys largest museum of cultural history, out of its total holding of some 1.3 million objects, approximately 25,000 are exhibited. The museum is situated in the south of the city center between Kornmarkt and Frauentormauer along the medieval city wall. Its entrance hall is situated on Kartäusergasse which was transformed by the Israeli sculptor Dani Karavan to the Way of Human Rights, the term Germanic should be understood in the historical context of the mid nineteenth century. The German revolutions of 1848–49 had failed to achieve a liberalised and unified Germany, thus the name of the museum maintained the idea of a close cultural relationship within a region defined by the common German language, and a shared German cultural tradition. In 1852, the intention to document the cultural unity of the German-speaking areas was a progressive concept. Only in 1871, when the German Empire was constituted, the museum paid tribute to it by adding national to its name, the museum understands itself as an important research and educational institution. The museum constitutes a monument in itself, as it consists of a variety of buildings erected in different periods. The charterhouse was rebuilt and modified to accommodate the collections until the nineteenth century when Neo-Gothic extensions were added on its south side. During and after the First World War, the „Alter Eingang“, the first major building was added 1955–1958, called „Heussbau“ after the first president of West Germany, Theodor Heuss. In 1983, and from 1988–1993, the museum was substantially enlarged, the „Kartäuserbau“ with the new entrance hall situated now on Kartäusergasse was designed by Jan Störmer of architects ME DI UM. In 1999, the 1910 building of the St Lorenzs parish childrens home was acquired and it was restored in 2002, and is now the home for the Collection of Childrens Toys. Pauls Church, Frankfurt am Main in 1848, the Germanisches Nationalmuseum is a public law foundation supported by the Federal Republic of Germany, the state of Bavaria and the city of Nuremberg. Its Administrative Board is chaired by Prof. Dr. h. c, klaus-Dieter Lehmann, the head of the General Directorate is Prof. Dr. G. Ulrich Großmann. Associated to the museum are Archives, like the German Archive of Art, libraries, a department for restoration and conservation. The museum is organized as a foundation since 1921. Since 2 July 1954, companies and individual persons are invited to support the museums activities, as a research institute, the GNM conducts scientific and historical research on the material provided in the collections and archives
20.
Mauritshuis
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The Mauritshuis is an art museum in The Hague in the Netherlands. The museum houses the Royal Cabinet of Paintings which consists of 841 objects, the collections contains works by Johannes Vermeer, Rembrandt van Rijn, Jan Steen, Paulus Potter, Frans Hals, Jacob van Ruisdael, Hans Holbein the Younger, and others. Originally, the 17th century building was the residence of count John Maurice of Nassau and it is now the property of the government of the Netherlands and is listed in the top 100 Dutch heritage sites. On the plot, the Mauritshuis was built between 1636 and 1641, during John Maurices governorship of Dutch Brazil, the Dutch Classicist building was designed by the Dutch architects Jacob van Campen and Pieter Post. The two-storey building is symmetrical and contained four apartments and a great hall. Each apartment was designed with an antechamber, a chamber, a cabinet, originally, the building had a cupola, which was destroyed in a fire in 1704. After the death of Prince John Maurice in 1679, the house was owned by the Maes family, in 1704, most of the interior of the Mauritshuis was destroyed by fire. The building was restored between 1708 and 1718, in 1820, the Mauritshuis was bought by the Dutch state for the purpose of housing the Royal Cabinet of Paintings. In 1822, the Mauritshuis was opened to the public and housed the Royal Cabinet of Paintings, in 1875, the entire museum became available for paintings. The Mauritshuis was privatised in 1995, the foundation set up at that time took charge of both the building and the collection, which it was given on long-term loan. This building, which is the property of the state, is rented by the museum, in 2007, the museum announced its desire to expand. In 2010, the design was presented. The museum would occupy a part of the nearby Sociëteit de Witte building, the two buildings would be connected via an underground tunnel, running underneath the Korte Vijverberg. The renovation started in 2012 and finished in 2014, during the renovation, about 100 of the museums paintings were displayed in the Gemeentemuseum in the Highlights Mauritshuis exhibition. About 50 other paintings, including the Girl With the Pearl Earring, were on loan to exhibitions in the United States, the museum was reopened on 27 June 2014 by King Willem-Alexander. The collection of paintings of stadtholder William V, Prince of Orange was presented to the Dutch state by his son and this collection formed the basis of the Royal Cabinet of Paintings of around 200 paintings. The collection is called the Royal Picture Gallery. There are also works of Hans Holbein in the collection in the Mauritshuis, the Mauritshuis was state museum until 1995, when it became independent
21.
Isabella Stewart Gardner Museum
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The museum houses an art collection of world importance, including significant examples of European, Asian, and American art, from paintings and sculpture to tapestries and decorative arts. In 1990, thirteen of the works were stolen, the high-profile crime remains unsolved. Today, the museum exhibitions of historic and contemporary art, as well as concerts, lectures, family and community programs. In accordance with the will of Isabella Stewart Gardner, admittance is discounted to those wearing Boston Red Sox memorabilia, the museum was incorporated in 1900 and opened in 1903 by Isabella Stewart Gardner, an American art collector, philanthropist, and patron of the arts. It is housed in a designed to emulate a 15th-century Venetian palace. Gardner began collecting seriously after she received an inheritance from her father in 1891. Her purchase of Vermeers The Concert at auction in Paris in 1892 was her first major acquisition, in 1894, Bernard Berenson offered his services in helping her acquire a Botticelli. With his help, Gardner became the first American to own a painting by the Renaissance master, Berenson helped acquire nearly 70 works of art for her collection. After her husband John L. Gardners death in 1898, Isabella Gardner realized their dream of building a museum for their treasures. She purchased land for the museum in the marshy Fenway area of Boston, Sears to build a museum modeled on the Renaissance palaces of Venice. Gardner was deeply involved in every aspect of the design, though, the gallery installations were very different than they appear today. The Room of Early Italian Paintings, for example, served as her Chinese Room until about 1914, the museum opened on January 1,1903 with a grand celebration featuring a performance by members of the Boston Symphony Orchestra and a menu that included champagne and doughnuts. Gardner also occasionally hosted artists exhibitions within Fenway Court, including one of Anna Coleman Ladd, today, the museums contemporary artist-in-residence program, courtyard garden displays, concerts, and innovative education programs continue Isabella Gardners legacy. Gardner stipulated that if her wishes for the museum were not honored, the property and collection were to be sold, Gardner appointed her secretary and the former librarian of the Museum of Fine Arts, Boston, Morris Carter as the museums first director. Carter catalogued the collection and wrote Gardners definitive biography, Isabella Stewart Gardner. George L. Stout, Monuments Man, served as the second director. The father of conservation, Stout insured the long-term preservation of the collection. Rollin Van Nostrand Hadley became the third director in 1964
22.
Stockholm
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The city is spread across 14 islands on the coast in the southeast of Sweden at the mouth of Lake Mälaren, by the Stockholm archipelago and the Baltic Sea. The area has settled since the Stone Age, in the 6th millennium BC. It is also the capital of Stockholm County, Stockholm is the cultural, media, political, and economic centre of Sweden. The Stockholm region alone accounts for over a third of the countrys GDP and it is an important global city, and the main centre for corporate headquarters in the Nordic region. The city is home to some of Europes top ranking universities, such as the Stockholm School of Economics, Karolinska Institute and it hosts the annual Nobel Prize ceremonies and banquet at the Stockholm Concert Hall and Stockholm City Hall. One of the citys most prized museums, the Vasa Museum, is the most visited museum in Scandinavia. The Stockholm metro, opened in 1950, is known for its decoration of the stations. Swedens national football arena is located north of the city centre, Ericsson Globe, the national indoor arena, is in the southern part of the city. The city was the host of the 1912 Summer Olympics, and hosted the equestrian portion of the 1956 Summer Olympics otherwise held in Melbourne, Victoria, Australia. Stockholm is the seat of the Swedish government and most of its agencies, including the highest courts in the judiciary, and the official residencies of the Swedish monarch and the Prime Minister. The government has its seat in the Rosenbad building, the Riksdag is seated in the Parliament House, and the Prime Ministers residence is adjacent at the Sager House. After the Ice Age, around 8,000 BCE, there were already a number of people living in the present-day Stockholm area. Thousands of years later, as the ground thawed, the climate became tolerable, at the intersection of the Baltic Sea and lake Mälaren is an archipelago site where the Old Town of Stockholm was first built from about 1000 CE by Vikings. They had a positive impact on the area because of the trade routes they created. Stockholms location appears in Norse sagas as Agnafit, and in Heimskringla in connection with the legendary king Agne, the earliest written mention of the name Stockholm dates from 1252, by which time the mines in Bergslagen made it an important site in the iron trade. The first part of the name means log in Swedish, although it may also be connected to an old German word meaning fortification, the second part of the name means islet, and is thought to refer to the islet Helgeandsholmen in central Stockholm. Stockholms core, the present Old Town was built on the island next to Helgeandsholmen from the mid 13th century onward. The city originally rose to prominence as a result of the Baltic trade of the Hanseatic League, Stockholm developed strong economic and cultural linkages with Lübeck, Hamburg, Gdańsk, Visby, Reval, and Riga during this time
23.
Copper
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Copper is a chemical element with symbol Cu and atomic number 29. It is a soft, malleable, and ductile metal with high thermal and electrical conductivity. A freshly exposed surface of copper has a reddish-orange color. Copper is one of the few metals that occur in nature in directly usable metallic form as opposed to needing extraction from an ore and this led to very early human use, from c.8000 BC. Copper used in buildings, usually for roofing, oxidizes to form a green verdigris, Copper is sometimes used in decorative art, both in its elemental metal form and in compounds as pigments. Copper compounds are used as agents, fungicides, and wood preservatives. Copper is essential to all living organisms as a trace dietary mineral because it is a key constituent of the enzyme complex cytochrome c oxidase. In molluscs and crustaceans, copper is a constituent of the blood pigment hemocyanin, replaced by the hemoglobin in fish. In humans, copper is found mainly in the liver, muscle, the adult body contains between 1.4 and 2.1 mg of copper per kilogram of body weight. The filled d-shells in these elements contribute little to interatomic interactions, unlike metals with incomplete d-shells, metallic bonds in copper are lacking a covalent character and are relatively weak. This observation explains the low hardness and high ductility of single crystals of copper, at the macroscopic scale, introduction of extended defects to the crystal lattice, such as grain boundaries, hinders flow of the material under applied stress, thereby increasing its hardness. For this reason, copper is supplied in a fine-grained polycrystalline form. The softness of copper partly explains its high conductivity and high thermal conductivity. The maximum permissible current density of copper in open air is approximately 3. 1×106 A/m2 of cross-sectional area, Copper is one of a few metallic elements with a natural color other than gray or silver. Pure copper is orange-red and acquires a reddish tarnish when exposed to air, as with other metals, if copper is put in contact with another metal, galvanic corrosion will occur. A green layer of verdigris can often be seen on old structures, such as the roofing of many older buildings. Copper tarnishes when exposed to sulfur compounds, with which it reacts to form various copper sulfides. There are 29 isotopes of copper, 63Cu and 65Cu are stable, with 63Cu comprising approximately 69% of naturally occurring copper, both have a spin of 3⁄2
24.
Petit Palais
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The Petit Palais is an art museum in the 8th arrondissement of Paris, France. Built for the 1900 Exposition Universelle, it now houses the City of Paris Museum of Fine Arts, the Petit Palais is located across from the Grand Palais on Avenue Nicolas II, today Avenue Winston-Churchill. The other façades of the face the Seine and Avenue des Champs-Elysees. The Petit Palais is one of 14 museums of the City of Paris that have incorporated since January 1,2013. In 1894 a competition was held for the 1900 Exhibition area, the Palais de lIndustrie from the 1855 World’s Fair was considered unfitting and was to be replaced by something new for the 1900 Exhibition. Architects had the option to do what they pleased with the Palais de l’Industrie, in the end, Charles Girault won the competition and built the Petit Palais as one of the buildings that replaced the Palais de l’Industrie. The construction of the Petit Palais began on October 10,1897 and was completed in April 1900, the total cost of the Petit Palais at the time of the construction was 400,000 pounds. Charles Girault largely draws on the seventeenth and early eighteenth century French style for the Petit Palais. Additionally his work, such as the central porch and the triple arcade, has many references to the stables at Chantilly. Girault’s plan for the Petit Palais had minimal alterations from the design to the execution, the plan was original and fit perfectly in its given location. The Petit Palais is a shape with its larger side as the main façade facing the Grand Palais. The building’s shape makes a semi-circular courtyard at the center, the Beaux-Arts style Petit Palais was designed by Charles Girault, and is around an octi-circular courtyard and garden, similar to the Grand Palais. Its ionic columns, grand porch, and dome echo those of the Invalides across the river, the tympanum depicting the city of Paris surrounded by muses is the work of sculptor Jean Antoine Injalbert. The Petit Palais was built to be a building that would become a permanent fine arts museum after the exhibition. The materials of the building—stone, steel, and concrete as well as the decoration were to demonstrate that the Petit Palais was built to be enduring, the main façade of the building faces the Grand Palais. The focal point of the façade is the entrance, “a central archway set in an archivolt topped by a dome. Two wings flank the main entrance and these wings, continuing to the end pavilions, are embellished with free-standing columns that frame the tall windows. The exterior of the pavilions are embellished with arched windows from the side around to the rear façades and these grand windows provide side lighting for the outer three galleries of the interior museum
25.
Burrell Collection
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The Burrell Collection is an art collection in the city of Glasgow, Scotland. It is situated in Pollok Country Park on the side of the city. The museum closed for refurbishment on 23 October 2016 and is expected to reopen in 2020, the eclectic collection was acquired over many years by Sir William Burrell, a wealthy Glaswegian shipping magnate and art collector, who then gave it to the city of Glasgow Corporation in 1944. The trustees spent over 20 years trying to find a home for the collection, one which met all the criteria set out in the Trust Deed. Galleries on two house various smaller artefacts, over a basement storage level, and at the lower level a restaurant gives views over the lawn to the south. The museum was opened by Queen Elizabeth II in 1983, and was named as Scotlands second greatest post-war building in a poll of architects by Prospect magazine in 2005. The building was awarded A-listed status by Historic Scotland in February 2013 in recognition of its position as one of the country’s finest examples of 1970s architectural design, there are over 8,000 objects in the collection. Artworks from five centuries are found in the collection, Burrell started collecting Chinese antiques around 1910. The museum is home to one of the greatest assemblies of medieval stained glass in the world, there are more than 700 stained glass panels from across Europe in the collection, including many examples of Gothic, Renaissance and Romanesque styles. Much of the glass has heraldic motifs, in 2013 a project was commenced to conserve and research the museums collection of stained glass from the Carmelite church at Boppard-am-Rhein, Germany. The 34 panels that make up the Burrell collection of Boppard windows have a surface area of 14 square metres. The museum has a collection of art from the medieval period. This includes wood and stone sculptures, wooden church furnishings and architectural fragments, one of these items is the Temple Pyx. The nearest railway station to the Burrell Collection is Pollokshaws West, Pollok House, administered by the National Trust for Scotland, is also situated in Pollok Country Park. Hansard Blog following the ongoing Boppard Conservation Project Morrison, Richard, stained Glass in the Burrell Collection. Carpets and Tapestries from the Burrell Collection, the Burrell Collection, Gothic Tapestries, A Selection. Western Asiatic antiquities, the Burrell Collection
26.
Self-portrait wearing a white feathered bonnet
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Self-portrait wearing a white feathered bonnet is an oil painting attributed to the Dutch painter Rembrandt. It is signed and dated 1635 and it was traditionally regarded as a Rembrandt self-portrait until 1968, when it was rejected on stylistic grounds in the Rembrandt catalogue raisonné by Horst Gerson. On 18 March 2013 it was re-attributed to the master by Ernst van de Wetering and it is one of over 40 painted self-portraits by Rembrandt. The self-portrait shows Rembrandt at half length facing towards the right, a medallion hangs from a gold chain around his neck. He is wearing a velvet beret shading his eyes and from the front of it. This painting was documented by Hofstede de Groot in 1915, who wrote,584 and he stands in profile to the right, turning his head and eyes to the spectator. He has thick hair, and indications of a moustache. He wears a cap with two tall coloured ostrich feathers fastened with a gold clasp. A short purplish-grey cape, with a broad edging embroidered in gold and fringed, hangs open over the costume, showing a steel gorget. From the right shoulder hangs a chain, on the breast is a thin double gold chain with a medallion. He seems to rest both hands on his hips under the cape, bright light falls from the left at top on the plumes in the cap, the lower part of the face, and the right shoulder. Rather dark background, against which the shadow of the cap is relieved to the right. 1635, oak panel,36 1/2 inches by 28 1/2 inches, a copy is in the Wiesbaden Museum, see Moes, No. Another copy, without the feathers in the cap, is in the National Museum, Rome, engraved by J. Pichler,1791, etched by W. Unger. Mentioned by Vosmaer, p.508, Bode, pp.411,576, Dutuit, p.50, Michel, pp.215,560, Moes, Iconographia Batava, exhibited at Leyden,1906, No.40. In the collection of Prince Liechtenstein, Vienna,1885 catalogue, the Rembrandt Research Project came into being in order to confirm or deny such claims of rejection or attribution by using forensic and historical evidence. During the same period, Rembrandt made many portraits and even self-portraits with feathered hats, according to Van de Wetering, the feathered bonnet painting can be dated with certainty based on a series of etchings Rembrandt made for his Christ before Pilate painting. He made a small self-portrait of himself on a balcony wearing the feathered bonnet, the self-portrait is included in various stages of the etching but is only visible as a blob in the painting
27.
Buckland Abbey
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Buckland Abbey was originally a Cistercian abbey founded in 1278 by Amicia, Countess of Devon and was a daughter house of Quarr Abbey, on the Isle of Wight. It remained an abbey until the Dissolution of the Monasteries by King Henry VIII, in 1541 Henry sold Buckland to Sir Richard Grenville the Elder who, working with his son Sir Roger Greynvile, began to convert the abbey into a residence, renaming it Buckland Greynvile. The collection is noted for the presence of Drakes Drum, a number of independent craft workshops are located in the converted ox sheds. In March 2013 the portrait of a man wearing a feathered bonnet was re-attributed to Rembrandt by the Rembrandt expert Ernst van de Wetering. In June 2014, after eight months of work at the Hamilton Kerr Institute, the National Trust Costume Group operate at Buckland Abbey, creating authentic Elizabethan costumes using traditional materials and methods. There is a complete Francis Drake costume, based on the portrait of Drake in the National Gallery. Drake baronets Fuller baronets Baron Seaton Cestui que Buckland Abbey information at the National Trust
28.
The Prodigal Son in the Brothel
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The Prodigal Son in the Brothel is a painting by the Dutch master Rembrandt. It is housed in the Gemäldegalerie Alte Meister of Dresden, Germany and it portrays two people who had been identified as Rembrandt himself and his wife Saskia. In the Protestant contemporary world, the theme of the son was a frequent subject for works of art due to its moral background. Rembrandt himself painted a Return of the Prodigal Son in 1669, the left side of the canvas was cut, perhaps by the artist himself, to remove secondary characters and focus the observers attention on the main theme. The pigment analysis shows Rembrandts choice of the usual pigments such as red ochre, lead-tin-yellow, madder lake and smalt. The painting in the State Art Gallery in Dresden Rembrandt, Self-Portrait with Saskia, ColourLex
29.
Saskia van Uylenburgh
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Saskia van Uylenburgh was the wife of painter Rembrandt van Rijn. In the course of her life she was his model for some of his paintings, drawings and etchings and she was the daughter of a Frisian mayor. Asteroid 461 Saskia is named in her honour, Saskia was orphaned by age 12, as her mother died in 1619 and her father five years later. Saskia was raised by her sister Hiskje and her husband, Gerard van Loo, for a while she lived in Franeker when her sister Antje was ill. After Antjes burial, Saskia assisted her brother-in-law, the Polish theology professor Johannes Maccovius, in 1631 and in the company of the Mennonite painters Govert Flinck and Jacob Backer, Saskia traveled to Amsterdam. There she met Rembrandt, who produced paintings and portraits for Uylenburghs Amsterdam clients, in turn Rembrandt travelled to Leeuwarden, where he was received by the painter Wybrand de Geest, who had married Saskias niece. Saskia and Rembrandt were engaged in 1633, and on 10 June 1634 Rembrandt asked permission to marry in Sint Annaparochie and he showed his mothers written consent to the schepen. On 2 July the couple married, the preacher was Saskias cousin, but evidently none of Rembrandts family attended the marriage. In 1635 the couple moved to one of the most desirable addresses in Amsterdam, the Nieuwe Doelenstraat, with prominent neighbors, Rembrandt gained financial success through his artwork, and decided in 1639 to buy a house in the Jodenbreestraat, next to the place where he worked. A year before, by July 16,1638, Saskias Friesian relatives complained that Saskia was spoiling her inheritance, Rembrandt asked his brother-in-law Ulricus van Uylenburgh, also a lawyer, to help them out, confirming he was successful and able to pay for the house. Three of their children died shortly after birth and were buried in the nearby Zuiderkerk, the sole survivor was Titus, who was named after his mothers sister Titia van Uylenburgh. Saskia died the year after he was born, in Amsterdam, aged 29 and she was buried in the Oude Kerk. For ten years Rembrandt focused on drawings and etchings, Saskia allowed Rembrandt to use their sons inheritance as long as he did not remarry. If Titus died without issue, Rembrandt would be the heir of the moveable property, Rembrandt hired Geertje Dircx as a wetnurse, in 1649 she expected him to marry her. The next year Rembrandt had her locked up in a house of correction when Hendrickje Stoffels became his new housekeeper, in 1662 Rembrandt, having been in financial trouble for several years, sold Saskias grave. The Embarrassment of Riches, An Interpretation of Dutch Culture in the Golden Age Driessen, Christoph, Rembrandts vrouwen, graaff, A. & M. Roscam Abbing Rembrandt voor Dummies
30.
Louvre
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The Louvre or the Louvre Museum is the worlds largest museum and a historic monument in Paris, France. A central landmark of the city, it is located on the Right Bank of the Seine in the citys 1st arrondissement, approximately 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square metres. The Louvre is the second most visited museum after the Palace Museum in China. The museum is housed in the Louvre Palace, originally built as a fortress in the late 12th century under Philip II, remnants of the fortress are visible in the basement of the museum. Due to the expansion of the city, the fortress eventually lost its defensive function and. The building was extended many times to form the present Louvre Palace, in 1692, the building was occupied by the Académie des Inscriptions et Belles Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years, during the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nations masterpieces. The museum opened on 10 August 1793 with an exhibition of 537 paintings, because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under Napoleon and the museum renamed Musée Napoléon, the collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic, whether this was the first building on that spot is not known, it is possible that Philip modified an existing tower. According to the authoritative Grand Larousse encyclopédique, the name derives from an association with wolf hunting den, in the 7th century, St. Fare, an abbess in Meaux, left part of her Villa called Luvra situated in the region of Paris to a monastery. This territory probably did not correspond exactly to the modern site, the Louvre Palace was altered frequently throughout the Middle Ages. In the 14th century, Charles V converted the building into a residence and in 1546, Francis acquired what would become the nucleus of the Louvres holdings, his acquisitions including Leonardo da Vincis Mona Lisa. After Louis XIV chose Versailles as his residence in 1682, constructions slowed, however, on 14 October 1750, Louis XV agreed and sanctioned a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. Under Louis XVI, the museum idea became policy. The comte dAngiviller broadened the collection and in 1776 proposed conversion of the Grande Galerie of the Louvre – which contained maps – into the French Museum, many proposals were offered for the Louvres renovation into a museum, however, none was agreed on. Hence the museum remained incomplete until the French Revolution, during the French Revolution the Louvre was transformed into a public museum. In May 1791, the Assembly declared that the Louvre would be a place for bringing together monuments of all the sciences, on 10 August 1792, Louis XVI was imprisoned and the royal collection in the Louvre became national property
31.
Titian
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Tiziano Vecelli or Tiziano Vecellio, known in English as Titian /ˈtɪʃən/, was an Italian painter, the most important member of the 16th-century Venetian school. He was born in Pieve di Cadore, near Belluno, during his lifetime he was often called da Cadore, taken from the place of his birth. His painting methods, particularly in the application and use of color, would exercise a profound influence not only on painters of the Italian Renaissance, during the course of his long life, Titians artistic manner changed drastically, but he retained a lifelong interest in color. Although his mature works may not contain the vivid, luminous tints of his pieces, their loose brushwork. The exact date of Titians birth is uncertain, when he was an old man he claimed in a letter to Philip II, King of Spain, to have been born in 1474, but this seems most unlikely. Other writers contemporary to his old age give figures that would equate to birthdates between 1473 and after 1482 and he was the son of Gregorio Vecelli and his wife Lucia. His father was superintendent of the castle of Pieve di Cadore, Gregorio was also a distinguished councilor and soldier. Many relatives, including Titians grandfather, were notaries, and the family of four were well-established in the area, at the age of about ten to twelve he and his brother Francesco were sent to an uncle in Venice to find an apprenticeship with a painter. At that time the Bellinis, especially Giovanni, were the artists in the city. There Titian found a group of men about his own age, among them Giovanni Palma da Serinalta, Lorenzo Lotto, Sebastiano Luciani. Francesco Vecellio, his brother, later became a painter of some note in Venice. A fresco of Hercules on the Morosini Palace is said to have one of Titians earliest works. Others were the Bellini-esque so-called Gypsy Madonna in Vienna, and the Visitation of Mary and Elizabeth, now in the Accademia, a Man with a Quilted Sleeve is an early portrait, painted around 1509 and described by Giorgio Vasari in 1568. Scholars long believed it depicted Ludovico Ariosto, but now think it is of Gerolamo Barbarigo, Rembrandt borrowed the composition for his self-portraits. Titian joined Giorgione as an assistant, but many contemporary critics found his work more impressive—for example in exterior frescoes that they did for the Fondaco dei Tedeschi. Their relationship evidently contained a significant element of rivalry, distinguishing between their work at this period remains a subject of scholarly controversy. A substantial number of attributions have moved from Giorgione to Titian in the 20th century, one of the earliest known Titian works, Christ Carrying the Cross in the Scuola Grande di San Rocco, depicting the Ecce Homo scene, was long regarded as by Giorgione. In 1507–1508 Giorgione was commissioned by the state to create frescoes on the re-erected Fondaco dei Tedeschi, Titian and Morto da Feltre worked along with him, and some fragments of paintings remain, probably by Giorgione
32.
A Man with a Quilted Sleeve
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A Man with a Quilted Sleeve is a painting of about 1510 by the Venetian painter Titian in the National Gallery, London, measuring 81.2 by 66.3 centimetres. Though the quality of the painting has always praised, there has been much discussion as to the identity of the sitter. By having the large sleeve project slightly beyond the parapet, Titian subverts the usual barrier effect, the turning pose, with the head slightly atilt and an eyebrow appearing raised, exactly halfway across the composition, adds life and drama. The broad spiral motion in depth of the head and arm suggests that Titian had some awareness of developments in painting in Florence. The sleeve is brilliantly painted, and the merging of the portions of the figure with the grey atmospheric background. Is one of the most innovative and influential aspects of the painting, the painting comes from a crucial period in the development of the Italian Renaissance portrait, which was then being led by Venice. To some extent the ardent gaze of this and other figures is adopted from paintings of religious subjects, the pose was borrowed in two self-portraits by Rembrandt, who saw the painting in Amsterdam. Soon after it moved to England via France. It entered the National Gallery in 1904 as NG1944, the works attribution and dating are based on its style, its ambigious signature, and comparison with other Titian works, such as La Schiavona. The dates assigned have all been in the period of about 1509–1512, according to Nicholas Penny, the Man with a Quilted Sleeve may be Titians earliest portrait, apart from a Knight of Malta in the Uffizi. The widely-spaced letters T V appear as though carved into the stone parapet either side of the sleeve and they are usually taken as Titians initials, though there is a second V visible in infra-red reflectography, so the painting once might have carried the mysterious abbreviation VV. Various moral mottos, such as virtus vincit have been proposed as the meaning, VV is not usually regarded as a signature, but TV might be Titians. Before cleaning and restoration the signature had been added to by a hand, so that it read TITIANUS. Like many others, the painting was at times attributed to Giorgione, the painting was cleaned in 1949, when the later parts of the signature were painted over. The blue sleeve is well preserved, parts of the face and the area around the hand are rubbed, scientific imaging reveals only a little very confident underdrawing. From at least the 1630s until the late 19th century it was thought to be a portrait of the poet Ludovico Ariosto, but this is dismissed by all modern critics. Even when it entered the National Gallery in 1904 it was only tentatively so identified, as it not resemble other portraits of Ariosto. The family was then at the height of its power, and had supplied two Doges of Venice in succession from 1485–1501, the Barberigo identification has met with some resistance
33.
National Gallery (London)
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The National Gallery is an art museum in Trafalgar Square in the City of Westminster, in Central London. Founded in 1824, it houses a collection of over 2,300 paintings dating from the century to 1900. The Gallery is a charity, and a non-departmental public body of the Department for Culture, Media. Its collection belongs to the public of the United Kingdom and entry to the collection is free of charge. It is among the most visited art museums in the world, after the Musée du Louvre, the British Museum, unlike comparable museums in continental Europe, the National Gallery was not formed by nationalising an existing royal or princely art collection. It came into being when the British government bought 38 paintings from the heirs of John Julius Angerstein, after that initial purchase the Gallery was shaped mainly by its early directors, notably Sir Charles Lock Eastlake, and by private donations, which comprise two-thirds of the collection. It used to be claimed that this was one of the few national galleries that had all its works on permanent exhibition, the present building, the third to house the National Gallery, was designed by William Wilkins from 1832 to 1838. Only the façade onto Trafalgar Square remains essentially unchanged from this time, wilkinss building was often criticised for the perceived weaknesses of its design and for its lack of space, the latter problem led to the establishment of the Tate Gallery for British art in 1897. The Sainsbury Wing, an extension to the west by Robert Venturi, the current Director of the National Gallery is Gabriele Finaldi. The late 18th century saw the nationalisation of royal or princely art collections across mainland Europe, great Britain, however, did not emulate the continental model, and the British Royal Collection remains in the sovereigns possession today. In 1777 the British government had the opportunity to buy an art collection of international stature, the MP John Wilkes argued for the government to buy this invaluable treasure and suggested that it be housed in a noble gallery. The twenty-five paintings from that now in the Gallery, including NG1, have arrived by a variety of routes. This offer was declined and Bourgeois bequeathed the collection to his old school, Dulwich College, the collection opened in Britains first purpose-built public gallery, the Dulwich Picture Gallery, in 1814. The British Institution, founded in 1805 by a group of aristocratic connoisseurs, the members lent works to exhibitions that changed annually, while an art school was held in the summer months. However, as the paintings that were lent were often mediocre, some resented the Institution. One of the Institutions founding members, Sir George Beaumont, Bt, in 1823 another major art collection came on the market, which had been assembled by the recently deceased John Julius Angerstein. Angerstein was a Russian-born émigré banker based in London, his collection numbered 38 paintings, including works by Raphael, on 1 July 1823 George Agar Ellis, a Whig politician, proposed to the House of Commons that it purchase the collection. The appeal was given added impetus by Beaumonts offer, which came with two conditions, that the government buy Angersteins collection, and that a building was to be found
34.
Norton Simon Museum
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The Norton Simon Museum is an art museum located in Pasadena, California, United States. It was previously known as the Pasadena Art Institute and the Pasadena Art Museum, the museum contains the Norton Simon Theater which shows film programs daily, and hosts lectures, symposia, and dance and musical performances year-round. The museum is located along the route of the Tournament of Rosess Rose Parade, the Museum filled a void, being the only modern art museum between San Francisco and La Jolla in California at the time. It was renowned for art exhibits and supported the work of local contemporary artists such as Helen Lundeberg, John McLaughlin. Hopps later drew up a short list of California architects for a new building, including Richard Neutra, Charles Eames, John Lautner, Craig Ellwood. Hopps insisted on an architect because he expected a high level of interaction throughout the design process. A new Pasadena Art Museum building was completed in 1969, designed by Pasadena architects Thornton Ladd, the distinctive and modern curvilinear exterior facade is faced in 115,000 glazed tiles, in varying rich brown tones with an undulating surface, made by renowned ceramic artisan Edith Heath. Hopps resigned before the museum opened, in the early 1970s, due to an ambitious schedule of exhibits and the new building project, the museum began to experience serious financial hardships. He was first approached for assistance in 1971 by trustees of the museum. In 1974, the museum and Simon came to an agreement, the remainder was used to display the Pasadena museums contemporary collection. A new 10-member board of trustees was formed, consisting of four members from Simons group, Simon also became responsible for the collection and building projects, in return the museum was renamed to Norton Simon Museum and renovated at a reported cost of more than $3 million. Simon died in 1993, and the actress Jennifer Jones, his widow and chairwoman of the board, made corrective, conciliatory moves that have repositioned the museum and its two collections. In 1995, the museum began a major $5 million renovation with the architect Frank Gehry, the gardens were redesigned by Power and Associates to house the 20th-century sculpture collection in an engaging setting. The new Norton Simon Theater was the element of the renovation, designed by Gensler & Associates. The Norton Simon Museum, which more than 11,000 objects. As of 2014, their public filings placed the combined value of the artworks at about $2.5 billion. The museum makes relatively little effort to expand the collection amassed by its founder, for more than three decades after it was founded in 1975, the Norton Simon Museum maintained a no-loans policy. In 2007 the board agreed to select works to museums including the National Gallery in Washington
35.
Carel Fabritius
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He was a pupil of Rembrandt and worked in his studio in Amsterdam. Fabritius, who was a member of the Delft School, developed his own style and experimented with perspective. Among his works are A View of Delft, The Goldfinch, Fabritius was born in February 1622 in Middenbeemster, a village in the ten-year-old Beemster polder in the Dutch Republic, and was baptized on 27 February of that year. He was the son of Pieter Carelsz, a painter and schoolteacher, and he had two younger brothers Barent and Johannes, who also became painters. Initially he worked as a carpenter, in the early 1640s he studied at Rembrandts studio in Amsterdam, along with his brother Barent. In the early 1650s he moved to Delft, and joined the Delft painters guild in 1652. Fabritius died young, caught in the explosion of the Delft gunpowder magazine on October 12,1654, only about a dozen paintings have survived. According to Houbraken, his student Mattias Spoors and the church deacon Simon Decker died with him, in a poem written by Arnold Bon to his memory, he is called Karel Faber. Of all Rembrandts pupils, Fabritius was the one to develop his own artistic style. A typical Rembrandt portrait would have a dark background with the subject defined by spotlighting. In contrast, Fabritius portraits feature delicately lit subjects against light-coloured, textured backgrounds, moving away from the Renaissance focus on iconography, Fabritius became interested in the technical aspects of painting. He used cool colour harmonies to create shape in a style of painting. Fabritius was also interested in complex spatial effects, as can be seen in the perspective of A View of Delft. He also showed excellent control of a loaded brush, as in The Goldfinch. All these qualities appear in the work of Delfts most famous painters, Vermeer and de Hooch, het complete oeuvre Frederik J. Duparc, Ariane van Suchtelen, Gero Seelig. ISBN 978-90-400-8987-9 The Oxford Dictionary of Art ISBN 0-19-280022-1 Biography at Residenzgalerie Salzburg Olgas Gallery Adventures in Cybersound interest in unusual perspectives
36.
Self Portrait (Rembrandt, Vienna)
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Self Portrait is an oil on canvas painting by the Dutch artist Rembrandt. Painted in 1652, it is one of over 40 painted self-portraits by Rembrandt, in composition it is different from his previous self-portraits, depicting the painter in a direct frontal pose, hands on his hips, and with an air of self-confidence. It was painted the year that his financial difficulties began, Art historian Christopher White has called it one of the most magisterial and sombre of these pictures. It is in the Kunsthistorisches Museum in Vienna, the freely painted clothing includes a brown robe that was most likely casual working attire, secured with a sash, over a black doublet with an upturned collar. A drawing from c.1650 shows Rembrandt in much the same pose and attire, in the drawing Rembrandt is seen wearing a top hat, while in the painting he wears a black beret derivative of artists portraits of the 16th century. As in other portraits and self-portraits by Rembrandt, a painted underlayer shows through in areas of shadow, here particularly in the eye sockets. Microscopic analysis has revealed that this is not the ground layer, which is a similar gray color. This local imprimatura, used in preparation for specific areas of the painting, was practiced by Vermeer. A strong similarity has been noted to the self-portrait of c,1655, also in the Vienna Kunsthistorisches Museum. The later work shares the frontal angle, lighting, and informal attire of the larger painting, a painting of Rembrandt son Titus van Rijn, by another artist in the style of Rembrandt, duplicates the pose and positioning of the figure in the Self Portrait. The Kunsthistorisches Museum, Vienna, the paintings, Volume 2,2004, van de Wetering, Ernst, Rembrandt, The Painter at Work, Amsterdam University Press,2000. ISBN 0-520-22668-2 White, Christopher, et al, Kunsthistorisches Museum, Vienna Rembrandts Son Titus, Metropolitan Museum of Art
37.
Kunsthistorisches Museum
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The Kunsthistorisches Museum is an art museum in Vienna, Austria. Housed in its festive palatial building on Ringstraße, it is crowned with an octagonal dome, the term Kunsthistorisches Museum applies to both the institution and the main building. It is the largest art museum in the country and it was opened around 1891 at the same time as the Naturhistorisches Museum, by Emperor Franz Joseph I of Austria-Hungary. The two museums have similar exteriors and face each other across Maria-Theresien-Platz, both buildings were built between 1871 and 1891 according to plans drawn up by Gottfried Semper and Karl Freiherr von Hasenauer. The two Ringstraße museums were commissioned by the Emperor in order to find a shelter for the Habsburgs formidable art collection. The façade was built of sandstone, the building is rectangular in shape, and topped with a dome that is 60 meters high. The inside of the building is decorated with marble, stucco ornamentations, gold-leaf. It was featured in an episode of Museum Secrets on the History Channel and it had been the biggest art theft in Austrian history. Treasure of Nagyszentmiklós Media related to Kunsthistorisches Museum at Wikimedia Commons Official website Spherical panorama of entrance Hofburgs Armory - photo gallery in Flickr
38.
National Gallery of Scotland
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The Scottish National Gallery is the national art gallery of Scotland. It is located on The Mound in central Edinburgh, in a building designed by William Henry Playfair. The gallery houses the Scottish national collection of art, including Scottish. The origins of Scotlands national collection lie with the Royal Institution for the Encouragement of the Fine Arts in Scotland and it began to acquire paintings, and in 1828 the Royal Institution building opened on The Mound. In 1826, the Scottish Academy was founded by a group of artists as an offshoot of the Royal Institution, a key aim of the RSA was the founding of a national collection. It began to build up a collection and from 1835 rented exhibition space within the Royal Institution building, in the 1840s, plans were put in place for a new building to house the RSA. William Henry Playfair was commissioned to prepare designs, and on 30 August 1850, in 1912 the RSA moved into the Royal Institution building, which remains known as the Royal Scottish Academy Building. At this time, internal remodelling was carried out by William Thomas Oldrieve, when it re-opened, the gallery concentrated on building its permanent collection of Scottish and European art for the nation of Scotland Additional basement galleries were constructed in 1970. Construction took five years and cost £32 million, the new underground space was opened as the Weston Link in August 2004. The Print Room or Research Library can be accessed by appointment, at the heart of the National Gallerys collection is a group of paintings transferred from the Royal Scottish Academy Building. This includes masterpieces by Jacopo Bassano, Van Dyck and Giambattista Tiepolo, the National Gallery did not receive its own purchase grant until 1903
39.
Self Portrait with Beret and Turned-Up Collar
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Self-Portrait with Beret and Turned-Up Collar is a 1659 oil on canvas painting by the Dutch artist Rembrandt, one of over 40 self-portraits by Rembrandt. Part of the Andrew W. Mellon Collection, it has been in the National Gallery of Art since 1937, in Self-Portrait with Beret and Turned-Up Collar Rembrandt is seated in a broadly painted fur cloak, his hands clasped in his lap. Light from the upper right fully illuminates the face, hollowing the form of the cheek, the most luminous area, the artists face, is framed by a large beret and the high collar that flatteringly hides his jowls. The skin of the face is modeled with thick, tactile pigment, painted with rich, the folded hands and the left arm covered in dark fabric are similar to the Raphael portrait. Also reminiscent of the Raphael painting are the positioning of the head and torso and it has been suggested that this difference in angle was an intentional variation from the series of self-portraits he was painting at the time. Self-Portrait with Beret and Turned-Up Collar derives from the period as the more finished. Both the clothing and physical condition of the face suggest a close to 1659. The same clothing appears in a small, unfinished Self-Portrait with Beret in the Musée Granet, less finished than many other self-portraits by Rembrandt, the rich expressiveness of brushwork, especially in the face, has merited attention. In some passages the manipulation of pigment appears independent of the forms being described, for Rembrandt researcher Ernst van de Wetering The paint seems to have been applied, as it were, with a shaving brush. Strokes of thick paint, warm in tone, pool up to represent areas of reflected light on the forehead, nose, adjacent to these passages, at the temple, around the furrows of the right eye and the wing of the nostril, are interstices of green-gray underpainting. The right eyeball is painted with a series of transparent glazes, the practice of surface variation as a means of illusionism--kenlijkheyt, or perceptibility--was understood by some of Rembrandts contemporaries. Even so, the differences between the paint application in the face and passages of the drapery and background are unusual for a late self-portrait. The overall impression is that of a work, one that presents the subject as marked by experience yet ultimately resolute in dignity. The original support is a canvas of fine thread, and has been lined, the painting has two grounds, one a thick red-brown, the other a thin gray. The figure was drawn with brown underpaint left exposed in several places. The face and hands are in good condition, extensively damaged areas in the figure and background have been covered with black overpainting, some of which was removed during a 1992 restoration. It was then owned by John Charles, 7th Duke of Buccleuch, and was purchased in 1929 by Andrew W. Mellon, Mellon Educational and Charitable Trust in 1934. The painting was gifted to the National Gallery of Art in 1937, ackley, Clifford S. Rembrandts Journey, Painter•Draftsman•Etcher
40.
National Gallery of Art
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The National Gallery of Art, and its attached Sculpture Garden, is a national art museum in Washington, D. C. located on the National Mall, between 3rd and 9th Streets, at Constitution Avenue NW. Open to the public and free of charge, the museum was established in 1937 for the American people by a joint resolution of the United States Congress. Andrew W. Mellon donated an art collection and funds for construction. The Gallery often presents temporary special exhibitions spanning the world and the history of art and it is one of the largest museums in North America. In 1930 Mellon formed the A. W. Mellon Educational and Charitable Trust, when quizzed by Abbot, he explained that the project was in the hands of the Trust and that its decisions were partly dependent on the attitude of the Government towards the gift. Designed by architect John Russell Pope, the new structure was completed and accepted by President Franklin D. Roosevelt on behalf of the American people on March 17,1941. Neither Mellon nor Pope lived to see the completed, both died in late August 1937, only two months after excavation had begun. At the time of its inception it was the largest marble structure in the world, as anticipated by Mellon, the creation of the National Gallery encouraged the donation of other substantial art collections by a number of private donors. The Gallerys East Building was constructed in the 1970s on much of the land left over from the original congressional joint resolution. It was funded by Mellons children Paul Mellon and Ailsa Mellon Bruce, designed by famed architect I. M. Pei, the contemporary structure was completed in 1978 and was opened on June 1 of that year by President Jimmy Carter. The new building was built to house the Museums collection of paintings, drawings, sculptures. The design received a National Honor Award from the American Institute of Architects in 1981, the final addition to the complex is the National Gallery of Art Sculpture Garden. Completed and opened to the public on May 23,1999, the National Gallery of Art is supported through a private-public partnership. The United States federal government provides funds, through annual appropriations, to support the museums operations, all artwork, as well as special programs, are provided through private donations and funds. The museum is not part of the Smithsonian Institution, noted directors of the National Gallery have included David E. Finley, Jr. John Walker, and J. Carter Brown. Rusty Powell III is the current director, entry to both buildings of the National Gallery of Art is free of charge. From Monday through Saturday, the museum is open from 10 a. m. –5 p. m. it is open from 11 –6 p. m. on Sundays and it is closed on December 25 and January 1. The museum comprises two buildings, the West Building and the East Building linked by an underground passage
41.
Rembrandt: Self Portrait (Altman)
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Self-Portrait is a 1660 oil on canvas painting by the Dutch artist Rembrandt, one of over 40 self-portraits by Rembrandt. Painted when the artist was fifty-four, it has noted as a work in which may be seen the wrinkled brow. Part of the Benjamin Altman Collection, it has been in the Metropolitan Museum of Art since 1913, the Altman portrait is dated 1660, when he was fifty-four years old. This was a year of anxiety for him and he had just been declared bankrupt. He saw his collection of art treasures disposed of at auction and himself deserted by his pupils and his friends, in this portrait we have a work of mature years, when he brought all the skill and resources of a lifetime to its creation. The lift of the eyebrows that wrinkle his forehead is that of whimsical impatience, the mouth is drawn and the mark of undeserved neglect is evident in the premature wrinkles, but a certain merry pride lurks in the tilted cap and raised head. A pang of pity shoots through us, only to be replaced by one of satisfaction that he, the neglected, is remembered and they. Though this great artist lived several years longer, they were years of misery and his great reputation suffered an almost total eclipse, although to-day he is probably the most popular painter that ever lived. Yet he never lost his courage, and as we see him in this portrait he carries his head bravely and wears his hat jauntily, as if in defiance of the evils that engulfed him. Heretofore we may have felt acquainted with Rembrandt the painter, but now we know Rembrandt the man, technically this portrait shows Rembrandt at his best. The hat, a black, and the background, a warm green, are smoothly painted. Over a red waistcoat Rembrandt wears a heavy, brownish coat, Frick, will find a comparison of the moods of that picture and our work an interesting one. In the portrait owned by Mr. Frick, though it was painted in a troubled time, he paints himself as though he were a philosopher or prophet to whom all things. In the Altman picture he is prematurely aged by his troubles and is pestered with worries and his forehead is wrinkled and the mouth is drawn, but the cap is tilted a little jauntily on one side and the head is erect and proud. This article incorporates text from Century illustrated monthly magazine, by A. T, van Lear, a publication from 1916 now in the public domain in the United States. This article incorporates text from What pictures to see in America, by Lorinda Munson Bryant and this article incorporates text from Handbook of the Benjamin Altman collection, by Metropolitan Museum of Art, a publication from 1914 now in the public domain in the United States. The Metropolitan Museum of Art Long Island University Copy at Victoria & Albert Museum
42.
Metropolitan Museum of Art
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The Metropolitan Museum of Art, colloquially the Met, is located in New York City and is the largest art museum in the United States, and is among the most visited art museums in the world. Its permanent collection contains two million works, divided among seventeen curatorial departments. The main building, on the edge of Central Park along Manhattans Museum Mile, is by area one of the worlds largest art galleries. A much smaller second location, The Cloisters at Fort Tryon Park in Upper Manhattan, contains a collection of art, architecture. On March 18,2016, the museum opened the Met Breuer museum at Madison Avenue in the Upper East Side, it extends the museums modern, the Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, Indian, and Islamic art. The museum is home to collections of musical instruments, costumes and accessories, as well as antique weapons. Several notable interiors, ranging from first-century Rome through modern American design, are installed in its galleries, the Metropolitan Museum of Art was founded in 1870. The founders included businessmen and financiers, as well as leading artists and thinkers of the day and it opened on February 20,1872, and was originally located at 681 Fifth Avenue. The Met maintains extensive holdings of African, Asian, Oceanian, Byzantine, the museum is also home to encyclopedic collections of musical instruments, costumes and accessories, and antique weapons and armor from around the world. A number of interiors, ranging from 1st century Rome through modern American design, are permanently installed in the Mets galleries. In addition to its permanent exhibitions, the Met organizes and hosts traveling shows throughout the year. The director of the museum is Thomas P. Campbell, a long-time curator and it was announced on February 28th,2017 that Campbell will be stepping down as the Mets director and CEO, effective June. On March 1st,2017 the BBC reported that Daniel Weiss shall be the acting CEO until a replacement is found, Beginning in the late 19th century, the Met started to acquire ancient art and artifacts from the Near East. From a few tablets and seals, the Mets collection of Near Eastern art has grown to more than 7,000 pieces. The highlights of the include a set of monumental stone lamassu, or guardian figures. The Mets Department of Arms and Armor is one of the museums most popular collections. Among the collections 14,000 objects are many pieces made for and used by kings and princes, including armor belonging to Henry VIII of England, Henry II of France, Rockefeller donated his more than 3, 000-piece collection to the museum. The Mets Asian department holds a collection of Asian art, of more than 35,000 pieces, the collection dates back almost to the founding of the museum, many of the philanthropists who made the earliest gifts to the museum included Asian art in their collections
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Louvre Museum
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The Louvre or the Louvre Museum is the worlds largest museum and a historic monument in Paris, France. A central landmark of the city, it is located on the Right Bank of the Seine in the citys 1st arrondissement, approximately 38,000 objects from prehistory to the 21st century are exhibited over an area of 72,735 square metres. The Louvre is the second most visited museum after the Palace Museum in China. The museum is housed in the Louvre Palace, originally built as a fortress in the late 12th century under Philip II, remnants of the fortress are visible in the basement of the museum. Due to the expansion of the city, the fortress eventually lost its defensive function and. The building was extended many times to form the present Louvre Palace, in 1692, the building was occupied by the Académie des Inscriptions et Belles Lettres and the Académie Royale de Peinture et de Sculpture, which in 1699 held the first of a series of salons. The Académie remained at the Louvre for 100 years, during the French Revolution, the National Assembly decreed that the Louvre should be used as a museum to display the nations masterpieces. The museum opened on 10 August 1793 with an exhibition of 537 paintings, because of structural problems with the building, the museum was closed in 1796 until 1801. The collection was increased under Napoleon and the museum renamed Musée Napoléon, the collection was further increased during the reigns of Louis XVIII and Charles X, and during the Second French Empire the museum gained 20,000 pieces. Holdings have grown steadily through donations and bequests since the Third Republic, whether this was the first building on that spot is not known, it is possible that Philip modified an existing tower. According to the authoritative Grand Larousse encyclopédique, the name derives from an association with wolf hunting den, in the 7th century, St. Fare, an abbess in Meaux, left part of her Villa called Luvra situated in the region of Paris to a monastery. This territory probably did not correspond exactly to the modern site, the Louvre Palace was altered frequently throughout the Middle Ages. In the 14th century, Charles V converted the building into a residence and in 1546, Francis acquired what would become the nucleus of the Louvres holdings, his acquisitions including Leonardo da Vincis Mona Lisa. After Louis XIV chose Versailles as his residence in 1682, constructions slowed, however, on 14 October 1750, Louis XV agreed and sanctioned a display of 96 pieces from the royal collection, mounted in the Galerie royale de peinture of the Luxembourg Palace. Under Louis XVI, the museum idea became policy. The comte dAngiviller broadened the collection and in 1776 proposed conversion of the Grande Galerie of the Louvre – which contained maps – into the French Museum, many proposals were offered for the Louvres renovation into a museum, however, none was agreed on. Hence the museum remained incomplete until the French Revolution, during the French Revolution the Louvre was transformed into a public museum. In May 1791, the Assembly declared that the Louvre would be a place for bringing together monuments of all the sciences, on 10 August 1792, Louis XVI was imprisoned and the royal collection in the Louvre became national property
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Self-portrait as Zeuxis Laughing
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Self-portrait as Zeuxis Laughing is one of over 40 painted self-portraits by Rembrandt. Painted around 1662 by the Dutch artist Rembrandt, it is now in the Wallraf-Richartz-Museum in Cologne, ekkehard Mai, Rembrandt Selbstbildnis als Zeuxis. Mann Verlag, Berlin 2002, ISBN 3-7861-2438-8 Jürgen Müller, Rembrandt Harmensz van Rijn, in, Ulrich Pfisterer, Valeska von Rosen, Der Künstler als Kunstwerk. Selbstporträts vom Mittelalter bis zur Gegenwart, fritz Erpel, Die Selbstbildnisse Rembrandt Henschelverlag, Berlin 1967
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Self Portrait with Two Circles
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Self-Portrait with Two Circles is an oil on canvas painting by the Dutch artist Rembrandt, painted c. 1665–1669, one of over 40 painted self-portraits by Rembrandt, in it, he is seen at work, holding his palette, brushes, and maulstick. The painting is notable for its monumentality and for a background consisting of a shallow space with the fragments of two circles. It is the most ambitious self-portrait in which he is depicted at work and is considered a masterpiece of his last years and he wears a fur-lined robe, beneath which is a red garment. On his head is a hat, similar to that worn in several other late self-portraits. Unlike other late self-portraits, in Self Portrait with Two Circles, Rembrandt, with one hand on his hip, appears confrontational, the impression is that of a master solemnly asserting his genius. As in many of the late works, the painting is characterized by an improvisational handling. In several places, Rembrandt drew into the paint while it was wet, incising lines in the mustache, left eyebrow. The hands, palette, brushes, and fur lining of the artists gown, whether Rembrandt intended to more fully finish these areas is not known, but the paintings overall forcefulness renders concern for its completion superfluous. That Rembrandt may not have considered the work complete is suggested by the omission of his signature and date, alternatively, it is possible that Rembrandts intent was to leave an iconic biographical image for posterity, more profound than a traditional self-portrait. In this vein, a comparison to Titians late unfinished self-portrait in the Gemäldegalerie, Berlin, the subsequent alterations, including the repainting of his left hand on his hip, reduced the animation of the figure and increased its sense of monumentality. The most richly elaborated areas are the background and head, with the constructed of many nuanced colors, thickly painted. In contrast to the areas are the eye sockets, painted with subtle glazes, one eye in shadow. The meaning of the background has generated much speculation, the flat surface behind Rembrandt has been interpreted as either a wall or stretched canvas. It has been suggested that the circles represent the rota aristotelis — the Aristotelian idea of the form of the world — or have kabbalistic significance. A similar story involves Apelles, court painter to Alexander the Great and that the circles may serve a compositional function, that of geometric structure, is also a possibility. Kenwood, Paintings in the Iveagh Bequest, Rembrandt and his Circles, Self Portrait at Kenwood House. In Fleischer, Roland E. et al, the Age of Rembrandt, Studies in Seventeenth-Century Dutch Painting
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