1.
Cythera (island)
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Kythira is an island in Greece lying opposite the south-eastern tip of the Peloponnese peninsula. It is traditionally listed as one of the seven main Ionian Islands, administratively, it belongs to the Islands regional unit, which is part of the Attica region. The island is located between the Greek mainland and Crete, and from ancient times until the mid 19th century was a crossroads of merchants, sailors. As such, it has had a long and varied history and has influenced by many civilisations. This is reflected in its architecture, as well as the traditions and customs, influenced by centuries of coexistence of the Greek, Venetian, and Ottoman cultures. Kythira and the island of Antikythira were separate municipalities until they were merged at the 2011 local government reform. The municipality has an area of 300.023 km2, the municipal unit 279.593 km2, the province of Kythira was one of the provinces of the Piraeus Prefecture. It had the territory as the present municipality Kythira. There are archaeological remains from the Helladic period, contemporary with the Minoans, there is archaeological evidence of Kythiran trade as far as Egypt and Mesopotamia. Kythira had a Phoenician colony in the archaic age, the sea-snail which produces Tyrian purple is native to the island. Xenophon refers to a Phoenician Bay in Kythira, the archaic Greek city of Kythira was at Scandea on Avlemonas, its ruins have been excavated. Its acropolis, now Palicastro, has the temple of Aphrodite Ourania, in classical times, Kythira was part of the territory of several larger city-states. Kythira was independent, and issued her own coins, in 195, in Augustus time, it was again subject to Sparta, being the property of Gaius Julius Eurycles, who was both a Spartan magnate and a Roman citizen. By this time, the Greek cities were in practice subject to the Roman Empire, Kythira continued to exist under the Roman Empire and its Byzantine successor state for centuries. Christianity is attested from the fourth century AD, the time of Constantine, according to her legend, archaeological evidence suggests the island was abandoned about 700 AD. When Saint Theodore of Cythera led a resettlement after the Byzantine reconquest of Crete in 962 and he established a great monastery at Paliochora, a town grew up around it, largely populated from Laconia. When the Byzantine Empire was divided among the conquerors of the Fourth Crusade, during the Venetian domination the island was known as Cerigo. Ottomans called this island Chuha Island, kythirans still talk about the destruction and looting of Paliochora by Barbarossa, it has become an intrinsic part of the Kytherian folklore
2.
Venus (mythology)
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Venus is the Roman goddess whose functions encompassed love, beauty, desire, sex, fertility, prosperity and victory. In Roman mythology, she was the mother of the Roman people through her son, Aeneas, Julius Caesar claimed her as his ancestor. Venus was central to religious festivals, and was revered in Roman religion under numerous cult titles. The Romans adapted the myths and iconography of her Greek counterpart Aphrodite for Roman art, in the later classical tradition of the West, Venus becomes one of the most widely referenced deities of Greco-Roman mythology as the embodiment of love and sexuality. It has connections to venerari and venia through a common root in an Indo-European *wenes- or *u̯enis. Their common Proto-Indo-European root is assumed as *wen- or *u̯en- to strive for, wish for, desire, Venus has been described as perhaps the most original creation of the Roman pantheon, and an ill-defined and assimilative native goddess, combined with a strange and exotic Aphrodite. The ambivalence of her persuasive functions has been perceived in the relationship of the root *venes- with Latin venenum, in the sense of a charm, in myth, Venus-Aphrodite was born of sea-foam. Roman theology presents Venus as the yielding, watery female principle, essential to the generation and her male counterparts in the Roman pantheon, Vulcan and Mars, are active and fiery. Venus absorbs and tempers the male essence, uniting the opposites of male and female in mutual affection and she is essentially assimilative and benign, and embraces several otherwise quite disparate functions. She can give military victory, sexual success, good fortune, in one context, she is a goddess of prostitutes, in another, she turns the hearts of men and women from sexual vice to virtue. Images of Venus have been found in murals, mosaics. Petronius, in his Satyricon, places an image of Venus among the Lares of the freedman Trimalchios lararium, prospective brides offered Venus a gift before the wedding, the nature of the gift, and its timing, are unknown. Some Roman sources say that girls who come of age offer their toys to Venus, it is unclear where the offering is made, in dice-games, a popular pastime among Romans of all classes, the luckiest, best possible roll was known as Venus. Venus signs were for the most part the same as Aphrodites, Venus statues, and her worshipers, wore myrtle crowns at her festivals. Likewise, Roman folk-etymology transformed the ancient, obscure goddess Murcia into Venus of the Myrtles, myrtle was thought a particularly potent aphrodisiac. The female pudendum, particularly the clitoris, was known as murtos, as goddess of love and sex, Venus played an essential role at Roman prenuptial rites and wedding nights, so myrtle and roses were used in bridal bouquets. Marriage itself was not a seduction but a condition, under Junos authority. Venus was also a patron of the ordinary, everyday wine drunk by most Roman men and women, in the rites to Bona Dea, a goddess of female chastity, Venus, myrtle and anything male were not only excluded, but unmentionable
3.
Jean-Antoine Watteau
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Jean-Antoine Watteau, better known as Antoine Watteau, was a French painter whose brief career spurred the revival of interest in colour and movement, as seen in the tradition of Correggio and Rubens. He revitalized the waning Baroque style, shifting it to the severe, more naturalistic. Watteau is credited with inventing the genre of fêtes galantes, scenes of bucolic and idyllic charm, some of his best known subjects were drawn from the world of Italian comedy and ballet. Watteau was born in October 1684 in the town of Valenciennes which had passed from the Spanish Netherlands to France. His father, Jean-Philippe Watteau, was a given to brawling. Showing an early interest in painting, Jean-Antoine may have been apprenticed to Jacques-Albert Gérin, jean-Antoines first artistic subjects were charlatans selling quack remedies on the streets of Valenciennes. Watteau left for Paris in 1702, by 1705 he was employed as an assistant by the painter Claude Gillot, whose work represented a reaction against the turgid official art of Louis XIVs reign. In Gillots studio Watteau became acquainted with the characters of the commedia dellarte, afterward he moved to the workshop of Claude Audran III, an interior decorator, under whose influence he began to make drawings admired for their consummate elegance. Audran was the curator of the Palais du Luxembourg, where Watteau was able to see the magnificent series of canvases painted by Peter Paul Rubens for Queen Marie de Medici. The Flemish painter would become one of his influences, together with the Venetian masters he would later study in the collection of his patron and friend. In 1709 Watteau tried to obtain the Prix de Rome and was rejected by the Academy. In 1712 he tried again and was considered so good that, rather than receiving the one-year stay in Rome for which he had applied, he was accepted as a full member of the Academy. He took five years to deliver the required reception piece, but it was one of his masterpieces, Watteau lacked aristocratic patrons, his buyers were bourgeois such as bankers and dealers. The subject of his painting, Pierrot, is an actor in a white satin costume who stands isolated from his four companions. Watteaus final masterpiece, the Shop-sign of Gersaint, exits the pastoral forest locale for an urban set of encounters. Painted at Watteaus own insistence, in eight days, working only in the mornings, in order to warm up his fingers, this sign for the shop in Paris of the paintings dealer Edme François Gersaint is effectively the final curtain of Watteaus theatre. It has been compared with Las Meninas as a meditation on art, the scene is an art gallery where the façade has magically vanished, and the gallery and street in the canvas are fused into one contiguous drama. Watteau alarmed his friends by a carelessness about his future and financial security, in fact he had been sickly and physically fragile since childhood
4.
Royal Academy of Painting and Sculpture
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Académie Royale redirects here, not to be confused with the Académie Royale des Beaux-Arts or the Académie royale des sciences, des lettres et des beaux-arts, both in Brussels. The Académie Royale de Peinture et de Sculpture, Paris, was the art institution in France in the eighteenth century. The Academy was founded in 1648, by King Louis XIV modelled on Italian examples, Paris already had the Académie de Saint-Luc, which was a city artist guild like any other Guild of Saint Luke. The purpose of this academy was to professionalize the artists working for the French court, according to the Encyclopédie of Diderot and dAlembert, the academy was a result of squabbles that arose between the Master Painters and Sculptors of Paris, and Painters protected by the King. In response to harassment from the painters, a group of royal painters formed a plan for an academy. In 1661, it came under the control of Jean-Baptiste Colbert, King Louis XIVs chief adviser, a royal style was enforced which in practice meant a classical style. From 1683 on, it reached its greatest power under the directorship of Charles Le Brun with its hierarchy of members and it was later renamed Académie de peinture et de sculpture. The Académie is also responsible for the Académie de France in the villa Médicis in Rome which allows promising artists to study in Rome. In 1816, it was merged with the Académie de musique, wolf Burchard, The Sovereign Artist, Charles Le Brun and the Image of Louis XIV, Paul Holberton Publishing,2016, ISBN1911300059
5.
Reception piece
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In art, a reception piece is a work submitted by an artist to an Academy for approval as part of the requirements for admission to membership. The piece is representative of the artists work, and the organizations judgement of its skill may or may not form part of the criteria for accepting a new entrant. The work itself is usually retained by the academy, and many academies have large, alternative terms include diploma work at the Royal Academy in London, diploma piece, and in France at the Académie royale de peinture et de sculpture, tableau de réception or morceau de réception. The term masterpiece originated in the way under the earlier system of guilds. Membership of an academy may be by genre or technique and limited by numbers or age. Charles-Antoine Coypel, the son of its director, later said. In 1728, when Jean-Baptiste-Siméon Chardin was admitted to the academy for The Ray, it was as a painter of animals. Masterpiece Reception pieces visitor trail at the Louvre
6.
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
7.
Paris
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Paris is the capital and most populous city of France. It has an area of 105 square kilometres and a population of 2,229,621 in 2013 within its administrative limits, the agglomeration has grown well beyond the citys administrative limits. By the 17th century, Paris was one of Europes major centres of finance, commerce, fashion, science, and the arts, and it retains that position still today. The aire urbaine de Paris, a measure of area, spans most of the Île-de-France region and has a population of 12,405,426. It is therefore the second largest metropolitan area in the European Union after London, the Metropole of Grand Paris was created in 2016, combining the commune and its nearest suburbs into a single area for economic and environmental co-operation. Grand Paris covers 814 square kilometres and has a population of 7 million persons, the Paris Region had a GDP of €624 billion in 2012, accounting for 30.0 percent of the GDP of France and ranking it as one of the wealthiest regions in Europe. The city is also a rail, highway, and air-transport hub served by two international airports, Paris-Charles de Gaulle and Paris-Orly. Opened in 1900, the subway system, the Paris Métro. It is the second busiest metro system in Europe after Moscow Metro, notably, Paris Gare du Nord is the busiest railway station in the world outside of Japan, with 262 millions passengers in 2015. In 2015, Paris received 22.2 million visitors, making it one of the top tourist destinations. The association football club Paris Saint-Germain and the rugby union club Stade Français are based in Paris, the 80, 000-seat Stade de France, built for the 1998 FIFA World Cup, is located just north of Paris in the neighbouring commune of Saint-Denis. Paris hosts the annual French Open Grand Slam tennis tournament on the red clay of Roland Garros, Paris hosted the 1900 and 1924 Summer Olympics and is bidding to host the 2024 Summer Olympics. The name Paris is derived from its inhabitants, the Celtic Parisii tribe. Thus, though written the same, the name is not related to the Paris of Greek mythology. In the 1860s, the boulevards and streets of Paris were illuminated by 56,000 gas lamps, since the late 19th century, Paris has also been known as Panam in French slang. Inhabitants are known in English as Parisians and in French as Parisiens and they are also pejoratively called Parigots. The Parisii, a sub-tribe of the Celtic Senones, inhabited the Paris area from around the middle of the 3rd century BC. One of the areas major north-south trade routes crossed the Seine on the île de la Cité, this place of land and water trade routes gradually became a town
8.
Charlottenburg Palace
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Charlottenburg Palace is the largest palace in Berlin, Germany. It is located in the Charlottenburg district of the Charlottenburg-Wilmersdorf borough, the palace was built at the end of the 17th century and was greatly expanded during the 18th century. It includes much exotic internal decoration in baroque and rococo styles, a large formal garden surrounded by woodland was added behind the palace, including a belvedere, a mausoleum, a theatre and a pavilion. During the Second World War, the palace was damaged but has since been reconstructed. The palace with its gardens are a major tourist attraction, the original palace was commissioned by Sophie Charlotte, the wife of Friedrich III, Elector of Brandenburg in what was then the village of Lietzow. Originally named Lietzenburg, the palace was designed by Johann Arnold Nering in baroque style and it consisted of one wing and was built in 2 1⁄2 storeys with a central cupola. The façade was decorated with Corinthian pilasters, on the top was a cornice on which were statues. At the rear in the centre of the palace were two halls, the upper one being a ceremonial hall and the lower giving access to the gardens. Nering died during the construction of the palace and the work was completed by Martin Grünberg, the inauguration of the palace was celebrated on 11 July 1699, Fredericks 42nd birthday. Friedrich crowned himself as King Friedrich I in Prussia in 1701, on his return in 1702, Eosander began to extend the palace, starting with two side wings to enclose a large courtyard, and the main palace was extended on both sides. Sophie Charlotte died in 1705 and Friedrich named the palace and its estate Charlottenburg in her memory, in the following years, the Orangery was built on the west of the palace and the central area was extended with a large domed tower and a larger vestibule. On top of the dome is a vane in the form of a gilded statue representing Fortune designed by Andreas Heidt. The Orangery was originally used to overwinter rare plants, during the summer months, when over 500 orange, citrus and sour orange trees decorated the baroque garden, the Orangery regularly was the gorgeous scene of courtly festivities. Inside the palace, was a described as the eighth wonder of the world, the Amber Room. It was designed by Andreas Schlüter and its construction by the Danish amber craftsman Gottfried Wolfram started in 1701, Friedrich Wilhelm I gave the Amber Room to Tsar Peter the Great as a present in 1716. When Friedrich I died in 1713, he was succeeded by his son, Friedrich Wilhelm I whose building plans were less ambitious, building was resumed after his son Friedrich II came to the throne in 1740. During that year, stables for his guard regiment were completed to the south of the Orangery wing. The building of the new wing was supervised by Georg Wenzeslaus von Knobelsdorff, the Superintendent of all the Royal Palaces, the decoration of the exterior was relatively simple but the interior furnishings were lavish
9.
Rococo
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Rococo artists and architects used a more jocular, florid, and graceful approach to the Baroque. Their style was ornate and used light colours, asymmetrical designs, curves, unlike the political Baroque, the Rococo had playful and witty themes. By the end of the 18th century, Rococo was largely replaced by the Neoclassic style. In 1835 the Dictionary of the French Academy stated that the word Rococo usually covers the kind of ornament, style and design associated with Louis XVs reign and it includes therefore, all types of art from around the middle of the 18th century in France. The word is seen as a combination of the French rocaille and coquilles, the term may also be a combination of the Italian word barocco and the French rocaille and may describe the refined and fanciful style that became fashionable in parts of Europe in the 18th century. The Rococo love of shell-like curves and focus on decorative arts led some critics to say that the style was frivolous or merely modish, when the term was first used in English in about 1836, it was a colloquialism meaning old-fashioned. While there is some debate about the historical significance of the style to art in general. Italian architects of the late Baroque/early Rococo were wooed to Catholic Germany, Bohemia and Austria by local princes, an exotic but in some ways more formal type of Rococo appeared in France where Louis XIVs succession brought a change in the court artists and general artistic fashion. By the end of the long reign, rich Baroque designs were giving way to lighter elements with more curves. These elements are obvious in the designs of Nicolas Pineau. During the Régence, court life moved away from Versailles and this change became well established, first in the royal palace. The delicacy and playfulness of Rococo designs is seen as perfectly in tune with the excesses of Louis XVs reign. The 1730s represented the height of Rococo development in France, the style had spread beyond architecture and furniture to painting and sculpture, exemplified by the works of Antoine Watteau and François Boucher. The Rococo style was spread by French artists and engraved publications, william Hogarth helped develop a theoretical foundation for Rococo beauty. Though not intentionally referencing the movement, he argued in his Analysis of Beauty that the lines and S-curves prominent in Rococo were the basis for grace. The development of Rococo in Great Britain is considered to have connected with the revival of interest in Gothic architecture early in the 18th century. The beginning of the end for Rococo came in the early 1760s as figures like Voltaire and Jacques-François Blondel began to voice their criticism of the superficiality, Blondel decried the ridiculous jumble of shells, dragons, reeds, palm-trees and plants in contemporary interiors. By 1785, Rococo had passed out of fashion in France, replaced by the order, in Germany, late 18th century Rococo was ridiculed as Zopf und Perücke, and this phase is sometimes referred to as Zopfstil
10.
Louis XIV
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Louis XIV, known as Louis the Great or the Sun King, was a monarch of the House of Bourbon who ruled as King of France and Navarre from 1643 until his death in 1715. His reign of 72 years and 110 days is the longest of any monarch of a country in European history. In the age of absolutism in Europe, Louis XIVs France was a leader in the centralization of power. Louis began his rule of France in 1661, after the death of his chief minister. By these means he became one of the most powerful French monarchs, under his rule, the Edict of Nantes, which granted rights to Huguenots, was abolished. The revocation effectively forced Huguenots to emigrate or convert in a wave of dragonnades, which managed to virtually destroy the French Protestant minority. During Louis reign, France was the leading European power, and it fought three wars, the Franco-Dutch War, the War of the League of Augsburg. There were also two lesser conflicts, the War of Devolution and the War of the Reunions, warfare defined Louis XIVs foreign policies, and his personality shaped his approach. Impelled by a mix of commerce, revenge, and pique, in peacetime he concentrated on preparing for the next war. He taught his diplomats their job was to create tactical and strategic advantages for the French military, Louis XIV was born on 5 September 1638 in the Château de Saint-Germain-en-Laye, to Louis XIII and Anne of Austria. He was named Louis Dieudonné and bore the title of French heirs apparent. At the time of his birth, his parents had married for 23 years. His mother had experienced four stillbirths between 1619 and 1631, leading contemporaries thus regarded him as a divine gift and his birth a miracle of God. Sensing imminent death, Louis XIII decided to put his affairs in order in the spring of 1643, in defiance of custom, which would have made Queen Anne the sole Regent of France, the king decreed that a regency council would rule on his sons behalf. His lack of faith in Queen Annes political abilities was his primary rationale and he did, however, make the concession of appointing her head of the council. Louis relationship with his mother was uncommonly affectionate for the time, contemporaries and eyewitnesses claimed that the Queen would spend all her time with Louis. Both were greatly interested in food and theatre, and it is likely that Louis developed these interests through his close relationship with his mother. This long-lasting and loving relationship can be evidenced by excerpts in Louis journal entries, such as, but attachments formed later by shared qualities of the spirit are far more difficult to break than those formed merely by blood
11.
Smarthistory
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Smarthistory is a free resource for the study of art history created by art historians Beth Harris and Steven Zucker. Smarthistory is an independent not-for-profit organization and the partner to Khan Academy for art history. In addition to its focus on courses in art history, Smarthistory supports the art history Advanced Placement course. Smarthistory provides essays, video, photographs, and links to resources for each of the 250 works of art. Smarthistory has published 1500 videos and essays on art and cultural history from the Paleolithic era to the 21st century that include the art of Africa, the Americas, Asia, Europe, and Oceania. Smarthistorys essays have been contributed by more than 200 art historians, curators, videos are unscripted conversations between experts recorded on location in front of the original work of art or architecture. According to the Smarthistory about page, We are interested in delivering the narratives of art using the read-write webs interactivity and capacity for authoring and remixing. Publishers are adding multimedia to their textbooks, but unfortunately they are doing so in proprietary, Smarthistory won the Webby Award for Education in 2009. The Samuel H. Kress Foundation gave them a $25,000 grant for development in 2008, in an article in the Brooklyn New York Daily News, staff writer Elizabeth Lazarowitz quotes Steven Zucker, Art can be really intimidating for people, said Zucker. If we can make art feel exciting and interesting and very relevant to a historical moment. art can have real meaning. Unlike reading about art in a book, the idea of the audio was to keep a students eyes on the image and it helped students to learn the material a lot better. And for college students, the site is fast becoming an alternative to the commercial textbook whose short life cycle. We thought that that would make them relevant and more engaging for students
12.
Kythira
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Kythira is an island in Greece lying opposite the south-eastern tip of the Peloponnese peninsula. It is traditionally listed as one of the seven main Ionian Islands, administratively, it belongs to the Islands regional unit, which is part of the Attica region. The island is located between the Greek mainland and Crete, and from ancient times until the mid 19th century was a crossroads of merchants, sailors. As such, it has had a long and varied history and has influenced by many civilisations. This is reflected in its architecture, as well as the traditions and customs, influenced by centuries of coexistence of the Greek, Venetian, and Ottoman cultures. Kythira and the island of Antikythira were separate municipalities until they were merged at the 2011 local government reform. The municipality has an area of 300.023 km2, the municipal unit 279.593 km2, the province of Kythira was one of the provinces of the Piraeus Prefecture. It had the territory as the present municipality Kythira. There are archaeological remains from the Helladic period, contemporary with the Minoans, there is archaeological evidence of Kythiran trade as far as Egypt and Mesopotamia. Kythira had a Phoenician colony in the archaic age, the sea-snail which produces Tyrian purple is native to the island. Xenophon refers to a Phoenician Bay in Kythira, the archaic Greek city of Kythira was at Scandea on Avlemonas, its ruins have been excavated. Its acropolis, now Palicastro, has the temple of Aphrodite Ourania, in classical times, Kythira was part of the territory of several larger city-states. Kythira was independent, and issued her own coins, in 195, in Augustus time, it was again subject to Sparta, being the property of Gaius Julius Eurycles, who was both a Spartan magnate and a Roman citizen. By this time, the Greek cities were in practice subject to the Roman Empire, Kythira continued to exist under the Roman Empire and its Byzantine successor state for centuries. Christianity is attested from the fourth century AD, the time of Constantine, according to her legend, archaeological evidence suggests the island was abandoned about 700 AD. When Saint Theodore of Cythera led a resettlement after the Byzantine reconquest of Crete in 962 and he established a great monastery at Paliochora, a town grew up around it, largely populated from Laconia. When the Byzantine Empire was divided among the conquerors of the Fourth Crusade, during the Venetian domination the island was known as Cerigo. Ottomans called this island Chuha Island, kythirans still talk about the destruction and looting of Paliochora by Barbarossa, it has become an intrinsic part of the Kytherian folklore
13.
Greece
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Greece, officially the Hellenic Republic, historically also known as Hellas, is a country in southeastern Europe, with a population of approximately 11 million as of 2015. Athens is the capital and largest city, followed by Thessaloniki. Greece is strategically located at the crossroads of Europe, Asia, situated on the southern tip of the Balkan peninsula, it shares land borders with Albania to the northwest, the Republic of Macedonia and Bulgaria to the north, and Turkey to the northeast. Greece consists of nine regions, Macedonia, Central Greece, the Peloponnese, Thessaly, Epirus, the Aegean Islands, Thrace, Crete. The Aegean Sea lies to the east of the mainland, the Ionian Sea to the west, the Cretan Sea and the Mediterranean Sea to the south. Greece has the longest coastline on the Mediterranean Basin and the 11th longest coastline in the world at 13,676 km in length, featuring a vast number of islands, eighty percent of Greece is mountainous, with Mount Olympus being the highest peak at 2,918 metres. From the eighth century BC, the Greeks were organised into various independent city-states, known as polis, which spanned the entire Mediterranean region and the Black Sea. Greece was annexed by Rome in the second century BC, becoming a part of the Roman Empire and its successor. The Greek Orthodox Church also shaped modern Greek identity and transmitted Greek traditions to the wider Orthodox World, falling under Ottoman dominion in the mid-15th century, the modern nation state of Greece emerged in 1830 following a war of independence. Greeces rich historical legacy is reflected by its 18 UNESCO World Heritage Sites, among the most in Europe, Greece is a democratic and developed country with an advanced high-income economy, a high quality of life, and a very high standard of living. A founding member of the United Nations, Greece was the member to join the European Communities and has been part of the Eurozone since 2001. Greeces unique cultural heritage, large industry, prominent shipping sector. It is the largest economy in the Balkans, where it is an important regional investor, the names for the nation of Greece and the Greek people differ from the names used in other languages, locations and cultures. The earliest evidence of the presence of human ancestors in the southern Balkans, dated to 270,000 BC, is to be found in the Petralona cave, all three stages of the stone age are represented in Greece, for example in the Franchthi Cave. Neolithic settlements in Greece, dating from the 7th millennium BC, are the oldest in Europe by several centuries and these civilizations possessed writing, the Minoans writing in an undeciphered script known as Linear A, and the Mycenaeans in Linear B, an early form of Greek. The Mycenaeans gradually absorbed the Minoans, but collapsed violently around 1200 BC and this ushered in a period known as the Greek Dark Ages, from which written records are absent. The end of the Dark Ages is traditionally dated to 776 BC, the Iliad and the Odyssey, the foundational texts of Western literature, are believed to have been composed by Homer in the 7th or 8th centuries BC. With the end of the Dark Ages, there emerged various kingdoms and city-states across the Greek peninsula, in 508 BC, Cleisthenes instituted the worlds first democratic system of government in Athens
14.
Goddess
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A goddess is a female deity in polytheistic religions. Goddesses most often have characteristics that are apotheosize in their pure form. However, in some cases goddesses may embody neutral forms personifying both male and female characteristics, or they may even exhibit traits that are associated with the male gender. In some faiths, a female figure holds a central place in religious prayer. For example, Shaktism, the worship of the force that animates the world, is one of the three major sects of Hinduism. Polytheist religions, including Polytheistic reconstructionists, honour multiple goddesses and gods and these deities may be part of a pantheon, or different regions may have tutelary deities. The reconstructionists, like their ancient forebears, honour the deities particular to their country of origin, the noun goddess is a secondary formation, combining the Germanic god with the Latinate -ess suffix. It first appeared in Middle English, from about 1350, the English word follows the linguistic precedent of a number of languages—including Egyptian, Classical Greek, and several Semitic languages—that add a feminine ending to the languages word for god. Joseph Campbell in The Power of Myth, a 1988 interview with Bill Moyers, links the image of the Earth or Mother Goddess to symbols of fertility and reproduction. For example, Campbell states that, There have been systems of religion where the mother is the prime parent, and in Egypt you have the Mother Heavens, the Goddess Nut, who is represented as the whole heavenly sphere. Joseph Campbell, Well that was associated primarily with agriculture and the agricultural societies and it has to do with the earth. The human woman gives birth just as the earth gives birth to the plants. so woman magic, and the personification of the energy that gives birth to forms and nourishes forms is properly female. It is in the world of ancient Mesopotamia, the Egyptian Nile. Campbell also argues that the image of the Virgin Mary was derived from the image of Isis and her child Horus, other Mesopotamian goddesses include Ninhursag, Ninlil, Antu, Gaga Goddesses of the Canaanite religion, Baalat Gebal, Astarte, Anat. Cybele, Her Hittite name was Kubaba, but her name changed to Cybele in Phrygian and Roman culture and her effect can be also seen on Artemis as the Lady of Ephesus. Hebat, Mother Goddess of the Hittite pantheon and wife of the sky god. She was the origin of the Hurrian cult, arinniti, Hittite Goddess of the sun. She became patron of the Hittite Empire and monarchy, leto, A mother Goddess figure in Lykia
15.
Frankfurt
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The city is at the centre of the larger Frankfurt Rhine-Main Metropolitan Region, which has a population of 5.8 million and is Germanys second-largest metropolitan region after Rhine-Ruhr. Since the enlargement of the European Union in 2013, the centre of the EU is about 40 km to the east of Frankfurts CBD. Frankfurt is culturally and ethnically diverse, with half of the population. A quarter of the population are foreign nationals, including many expatriates, Frankfurt is an alpha world city and a global hub for commerce, culture, education, tourism and traffic. Its the site of many global and European headquarters, Frankfurt Airport is among the worlds busiest. Automotive, technology and research, services, consulting, media, Frankfurts DE-CIX is the worlds largest internet exchange point. Messe Frankfurt is one of the worlds largest trade fairs, major fairs include the Frankfurt Motor Show, the worlds largest motor show, the Music Fair, and the Frankfurt Book Fair, the worlds largest book fair. Frankfurt is home to educational institutions, including the Goethe University, the UAS, the FUMPA. Its renowned cultural venues include the concert hall Alte Oper, Europes largest English Theatre and many museums, Frankfurts skyline is shaped by some of Europes tallest skyscrapers. In sports, the city is known as the home of the top football club Eintracht Frankfurt, the basketball club Frankfurt Skyliners, the Frankfurt Marathon. Its the seat of German sport unions for Olympics, football, Frankfurt is the largest financial centre in continental Europe. It is home to the European Central Bank, Deutsche Bundesbank, Frankfurt Stock Exchange, the Frankfurt Stock Exchange is one of the worlds largest stock exchanges by market capitalization and accounts for more than 90 percent of the turnover in the German market. Frankfurt is considered a city as listed by the GaWC groups 2012 inventory. Among global cities it was ranked 10th by the Global Power City Index 2011, among financial centres it was ranked 8th by the International Financial Centers Development Index 2013 and 9th by the Global Financial Centres Index 2013. Its central location within Germany and Europe makes Frankfurt a major air, rail, Frankfurt Airport is one of the worlds busiest international airports by passenger traffic and the main hub for Germanys flag carrier Lufthansa. Frankfurter Kreuz, the Autobahn interchange close to the airport, is the most heavily used interchange in the EU, in 2011 human-resource-consulting firm Mercer ranked Frankfurt as seventh in its annual Quality of Living survey of cities around the world. According to The Economist cost-of-living survey, Frankfurt is Germanys most expensive city, Frankfurt has many high-rise buildings in the city centre, forming the Frankfurt skyline. It is one of the few cities in the European Union to have such a skyline and because of it Germans sometimes refer to Frankfurt as Mainhattan, the other well known and obvious nickname is Bankfurt
16.
Jean-Baptiste Pater
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Jean-Baptiste Pater was a French rococo painter. Born in Valenciennes, Pater was the son of sculptor Antoine Pater, Pater then moved to Paris, briefly becoming a pupil of Antoine Watteau in 1713. Watteau, despite treating Pater badly, had a significant influence on him, however the two quarreled and Pater returned to Valenciennes, where he remained for two years. In 1721, Pater and the dying Watteau reconciled, subsequently Pater became a student of Watteau once again, Pater later claimed to have learnt everything he knew during those few weeks with Watteau. He was accepted into the Académie in 1728, presenting a large work in the popular Watteau style. Pater adopted the popular Fête galante subject matter, heavily imitating his teacher Watteau—indeed he directly copied some of his figures, Pater used a traditional Rococo pastel palette. His most characteristic difference in style from other artists of the surrounded his use of shimmering lines. His most prominent customer was Frederick the Great, who sat for two portraits in the Turquerie style, LeSultan au Harem and Le Sultan au Jardin. One of Paters most renowned works is Landscape with a Cart, the delicately constructed subject matter and figures subordination to the buildings represent a movement away from fête galante, a development that was cut short by Paters death in 1736. 28 Painting by or after Jean-Baptiste Pater at the Art UK site
17.
Nicolas Lancret
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Nicolas Lancret, French painter, was born in Paris, and became a brilliant depicter of light comedy which reflected the tastes and manners of French society under the regent Orleans. His first master was Pierre dUlin, but his acquaintance with and admiration for Watteau induced him to leave dUlin for Gillot, whose pupil Watteau had been. Lancret, who remained a pupil of Gillot from 1712–1713, was influenced by the older painter. In 1718 he was received as an Academician, from becoming a very respected artist. He completed works to decorate the Palace of Versailles, while his style was later to prove popular with Frederick the Great, Lancrets populairty was reflected by the decision to make him a councillor at the Academie in 1735. Lancret completed numerous paintings, a significant proportion of which were engraved, although he completed several portraits and historical pieces his favourite subjects were balls, fairs, village weddings and so forth. In this respect he was typical of Rococo artists, some have claimed Lancrets work is significantly inferior to that of Watteau. In drawing and in painting his touch is often considered intelligent but dry, art historian Michael Levey remarked that Lancret was no poet, Lancrets characteristics are due possibly to the fact that he had been for some time in training under an engraver. These changes displayed the influence of later Watteaus like LEnseigne de Gersaint, Lancrets last painting, Family in a Garden, The National Gallery, is considered by Levey to be his masterpiece. The scene, which depicts a family taking coffee, has an intimacy, Lancret was single for much of his life, however in 1741 he married the 18-year-old grandchild of Boursault, author of Aesop at Court. Supposedly Lancret was induced to marry her after finding her and her mother living in poverty in an attic room. Lancret died of pneumonia on 14 September 1743 and this article incorporates text from a publication now in the public domain, Chisholm, Hugh, ed. article name needed. See dArgenville, Vies des peintres, and Ballot de Sovot, Éloge de M. Lancret
18.
History painting
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History painting is a genre in painting defined by its subject matter rather than artistic style. History paintings usually depict a moment in a story, rather than a specific and static subject. The term is derived from the senses of the word historia in Latin and Italian, meaning story or narrative. Most history paintings are not of scenes from history, especially paintings from before about 1850, History paintings almost always contain a number of figures, often a large number, and normally show some type of action that is a moment in a narrative. The genre includes depictions of moments in religious narratives, above all the Life of Christ, as well as scenes from mythology. These groups were for long the most frequently painted, works such as Michelangelos Sistine Chapel ceiling are therefore history paintings, History painting may be used interchangeably with historical painting, and was especially so used before the 20th century. Where a distinction is made historical painting is the painting of scenes from secular history, in the 19th century historical painting in this sense became a distinct genre. In phrases such as historical painting materials, historical means in use before about 1900 and he placed emphasis on the ability to depict the interactions between the figures by gesture and expression. This view remained general until the 19th century, when artistic movements began to struggle against the establishment institutions of academic art, which continued to adhere to it. Scenes from ancient history had been popular in the early Renaissance, and once again became common in the Baroque and Rococo periods, and still more so with the rise of Neoclassicism. In some 19th or 20th century contexts, the term may refer specifically to paintings of scenes from history, rather than those from religious narratives. Scenes from ancient history and mythology were also popular, artists continued for centuries to strive to make their reputation by producing such works, often neglecting genres to which their talents were better suited. The large works of Raphael were long considered, with those of Michelangelo, un Peintre qui ne fait que des portraits, na pas encore cette haute perfection de lArt, & ne peut prétendre à lhonneur que reçoivent les plus sçavans. He who produces perfect landscapes is above another who only produces fruit, a painter who only does portraits still does not have the highest perfection of his art, and cannot expect the honour due to the most skilled. By the late 18th century, with religious and mytholological painting in decline, there was an increased demand for paintings of scenes from history. Classical history remained popular, but scenes from national histories were often the best-received, the unheroic nature of modern dress was regarded as a serious difficulty. When, in 1770, Benjamin West proposed to paint The Death of General Wolfe in contemporary dress and he ignored these comments and showed the scene in modern dress. Although George III refused to purchase the work, West succeeded both in overcoming his critics objections and inaugurating a more historically accurate style in such paintings. M. W, conveniently their clothes had been worn away to classical-seeming rags by the point the painting depicts
19.
French Revolution
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Through the Revolutionary Wars, it unleashed a wave of global conflicts that extended from the Caribbean to the Middle East. Historians widely regard the Revolution as one of the most important events in human history, the causes of the French Revolution are complex and are still debated among historians. Following the Seven Years War and the American Revolutionary War, the French government was deeply in debt, Years of bad harvests leading up to the Revolution also inflamed popular resentment of the privileges enjoyed by the clergy and the aristocracy. Demands for change were formulated in terms of Enlightenment ideals and contributed to the convocation of the Estates-General in May 1789, a central event of the first stage, in August 1789, was the abolition of feudalism and the old rules and privileges left over from the Ancien Régime. The next few years featured political struggles between various liberal assemblies and right-wing supporters of the intent on thwarting major reforms. The Republic was proclaimed in September 1792 after the French victory at Valmy, in a momentous event that led to international condemnation, Louis XVI was executed in January 1793. External threats closely shaped the course of the Revolution, internally, popular agitation radicalised the Revolution significantly, culminating in the rise of Maximilien Robespierre and the Jacobins. Large numbers of civilians were executed by revolutionary tribunals during the Terror, after the Thermidorian Reaction, an executive council known as the Directory assumed control of the French state in 1795. The rule of the Directory was characterised by suspended elections, debt repudiations, financial instability, persecutions against the Catholic clergy, dogged by charges of corruption, the Directory collapsed in a coup led by Napoleon Bonaparte in 1799. The modern era has unfolded in the shadow of the French Revolution, almost all future revolutionary movements looked back to the Revolution as their predecessor. The values and institutions of the Revolution dominate French politics to this day, the French Revolution differed from other revolutions in being not merely national, for it aimed at benefiting all humanity. Globally, the Revolution accelerated the rise of republics and democracies and it became the focal point for the development of all modern political ideologies, leading to the spread of liberalism, radicalism, nationalism, socialism, feminism, and secularism, among many others. The Revolution also witnessed the birth of total war by organising the resources of France, historians have pointed to many events and factors within the Ancien Régime that led to the Revolution. Over the course of the 18th century, there emerged what the philosopher Jürgen Habermas called the idea of the sphere in France. A perfect example would be the Palace of Versailles which was meant to overwhelm the senses of the visitor and convince one of the greatness of the French state and Louis XIV. Starting in the early 18th century saw the appearance of the sphere which was critical in that both sides were active. In France, the emergence of the public sphere outside of the control of the saw the shift from Versailles to Paris as the cultural capital of France. In the 1750s, during the querelle des bouffons over the question of the quality of Italian vs, in 1782, Louis-Sébastien Mercier wrote, The word court no longer inspires awe amongst us as in the time of Louis XIV
20.
Pastoral
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A pastoral lifestyle is that of shepherds herding livestock around open areas of land according to seasons and the changing availability of water and pasture. It lends its name to a genre of literature, art, a pastoral is a work of this genre, also known as bucolic, from the Greek βουκολικόν, from βουκόλος, meaning a cowherd. Pastoral is a mode of literature in which the author employs various techniques to place the life into a simple one. Thus, pastoral as a mode occurs in many types of literature as well as genres, terry Gifford, a prominent literary theorist, defines pastoral in three ways in his critical book Pastoral. The first way emphasizes the historical perspective of the pastoral in which authors recognize and discuss life in the country. This is summed up by Leo Marx with the phrase No shepherd, the second type of the pastoral is literature that describes the country with an implicit or explicit contrast to the urban. The third type of pastoral depicts the life with derogative classifications. Hesiods Works and Days presents a golden age when people lived together in harmony with nature and this Golden Age shows that even before Alexandria, ancient Greeks had sentiments of an ideal pastoral life that they had already lost. This is the first example of literature that has pastoral sentiments, ovids Metamorphoses is much like the Works and Days with the description of ages but with more ages to discuss and less emphasis on the gods and their punishments. In this artificially constructed world, nature acts as the main punisher, another example of this perfect relationship between man and nature is evident in the encounter of a shepherd and a goatherd who meet in the pastures in Theocritus poem Idylls 1. Traditionally, pastoral refers to the lives of herdsmen in a romanticized, exaggerated, the pastoral life is usually characterized as being closer to the Golden age than the rest of human life. The setting is a Locus Amoenus, or a place in nature. An example of the use of the genre is the poem by the 15th-century Scottish makar Robert Henryson Robene and Makyne which also contains the conflicted emotions often present in the genre. There will we sit upon the rocks And see the shepherds feed their flocks, By shallow rivers, the Passionate Shepherd to His Love exhibits the concept of Giffords second definition of pastoral. The speaker of the poem, who is the titled shepherd and this can be seen in the listed items, lined slippers, purest gold, silver dishes, and ivory table. The speaker takes on a point of view with his love. Pastoral shepherds and maidens usually have Greek names like Corydon or Philomela and this makes them available for embodying perpetual erotic fantasies. The shepherds spend their time chasing pretty girls — or, at least in the Greek and Roman versions, Pastoral literature continued after Hesiod with the poetry of the Hellenistic Greek Theocritus, several of whose Idylls are set in the countryside and involve dialogues between herdsmen
21.
Claude Debussy
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Achille-Claude Debussy, known since the 1890s as Claude-Achille Debussy or Claude Debussy, was a French composer. He and Maurice Ravel were the most prominent figures associated with Impressionist music and he was made Chevalier of the Legion of Honour in 1903. He was among the most influential composers of the late 19th and early 20th centuries, Debussys music is noted for its sensory content and frequent usage of nontraditional tonalities. The prominent French literary style of his period was known as Symbolism, Debussy, the oldest of five children, was born Achille-Claude Debussy on 22 August 1862 in Saint-Germain-en-Laye, France. His father, Manuel-Achille Debussy, owned a shop there, his mother. The family moved to Paris in 1867, but in 1870 Debussys pregnant mother fled with Claude to his aunts home in Cannes to escape the Franco-Prussian War. At the age of seven, he began lessons with an Italian violinist in his early 40s named Jean Cerutti. In 1871 he drew the attention of Marie Mauté de Fleurville, Debussy always believed her, although there is no independent evidence to support her claim. His talents soon became evident, and in 1872, at age ten, Debussy entered the Paris Conservatoire and he also became a lifelong friend of fellow student and distinguished pianist Isidor Philipp. After Debussys death, many pianists sought Philipps advice on playing his works, Debussy was experimental from the outset, favouring dissonances and intervals that were not taught at the Academy. Like Georges Bizet, he was a brilliant pianist and a sight reader. However, Debussy never once won a competition, and his personal opinion on competitions are that it is rather. The rules are taught in places called Conservatories, Art Schools, the contests, preceded by strict training, take place once a year and the umpires of the game are members of the institute —Monsieur Croche. The pieces he played in public at this time included sonata movements by Beethoven, Schumann and Weber,2, a movement from the Piano Concerto No. 1, and the Allegro de concert, during the summers of 1880,1881, and 1882, he accompanied Nadezhda von Meck, the wealthy patroness of Pyotr Ilyich Tchaikovsky, as she travelled with her family in Europe. Despite von Mecks closeness to Tchaikovsky, the Russian master appears to have had effect on Debussy. In September 1880 she sent his Danse bohémienne for Tchaikovskys perusal, a month later Tchaikovsky wrote back to her, It is a pretty piece. Not a single idea is expressed fully, the form is terribly shriveled, Debussy did not publish the piece, and the manuscript remained in the von Meck family, it was eventually sold to B
22.
L'Isle Joyeuse
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Lisle joyeuse, L.106 is an extended solo piano piece by Claude Debussy composed in 1904. The introduction creates a whole tone context and this changes to an A Lydian context which, in bars 15–21, transitions, through the addition of G natural, to the whole tone context of a new motive at bar 21. This A Lydian context serves to transition from the whole tone mode on A to the A major context, inflected by occasional Lydian D♯s, the other transposition of the whole tone scale, avoided in the outer sections, is used and provides further harmonic contrast. The second subject appears in pure A major, the ultimate goal of the piece. The opening codas louder and more animatedly until the very end, Music in Transition, A Study of Tonal Expansion and Atonality, 1900–1920. New York, W. W. Norton & Company, lisle Joyeuse, Scores at the International Music Score Library Project Recording by Alon Goldstein in MP3 format
23.
Francis Poulenc
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Francis Jean Marcel Poulenc was a French composer and pianist. His compositions include mélodies, solo works, chamber music, choral pieces, operas, ballets. Poulencs wealthy family intended him for a career in the Rhone Poulenc family company. Largely self-educated musically, he studied with the pianist Ricardo Viñes, Poulenc soon came under the influence of Erik Satie, under whose tutelage he became one of a group of young composers known collectively as Les Six. In his early works Poulenc became known for his high spirits, during the 1930s a much more serious side to his nature emerged, particularly in the religious music he composed from 1936 onwards, which he alternated with his more light-hearted works. In addition to composing, Poulenc was an accomplished pianist and he was particularly celebrated for his performing partnerships with the baritone Pierre Bernac and the soprano Denise Duval, touring in Europe and America with each, and making many recordings. He was among the first composers to see the importance of the gramophone, in his later years, and for decades after his death, Poulenc had a reputation, particularly in his native country, as a humorous, lightweight composer, and his religious music was often overlooked. Poulenc was born in the 8th arrondissement of Paris, the child and only son of Émile Poulenc and his wife, Jenny. Émile Poulenc was a joint owner of the Établissements Poulenc Frères and he was a member of a pious Roman Catholic family from Espalion in the département of Aveyron. Jenny Poulenc was from a Parisian family with artistic interests. In Poulencs view, the two sides of his nature grew out of this background, a religious faith from his fathers family. The critic Claude Rostand later described Poulenc as half monk and half naughty boy and he took piano lessons from the age of five, when he was eight he first heard the music of Debussy and was fascinated by the originality of the sound. Other composers whose works influenced his development were Schubert and Stravinsky, the formers Winterreise, at his fathers insistence, Poulenc followed a conventional school career, studying at the Lycée Condorcet in Paris rather than at a music conservatory. In 1916 a childhood friend, Raymonde Linossier, introduced Poulenc to Adrienne Monniers bookshop, There he met the avant-garde poets Guillaume Apollinaire, Max Jacob, Paul Éluard and Louis Aragon. He later set many of their poems to music, in the same year he became the pupil of the pianist Ricardo Viñes. The biographer Henri Hell comments that Viñess influence on his pupil was profound, I admired him madly, because, at this time, in 1914, he was the only virtuoso who played Debussy and Ravel. That meeting with Viñes was paramount in my life, I owe him everything, in reality it is to Viñes that I owe my fledgling efforts in music and everything I know about the piano. When Poulenc was sixteen his mother died, his father died two years later, Viñes became more than a teacher, he was, in the words of Myriam Chimènes in the Grove Dictionary of Music and Musicians, the young mans spiritual mentor
24.
Oxford University Press
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Oxford University Press is the largest university press in the world, and the second oldest after Cambridge University Press. It is a department of the University of Oxford and is governed by a group of 15 academics appointed by the known as the delegates of the press. They are headed by the secretary to the delegates, who serves as OUPs chief executive, Oxford University has used a similar system to oversee OUP since the 17th century. The university became involved in the print trade around 1480, and grew into a printer of Bibles, prayer books. OUP took on the project became the Oxford English Dictionary in the late 19th century. Moves into international markets led to OUP opening its own offices outside the United Kingdom, by contracting out its printing and binding operations, the modern OUP publishes some 6,000 new titles around the world each year. OUP was first exempted from United States corporation tax in 1972, as a department of a charity, OUP is exempt from income tax and corporate tax in most countries, but may pay sales and other commercial taxes on its products. The OUP today transfers 30% of its surplus to the rest of the university. OUP is the largest university press in the world by the number of publications, publishing more than 6,000 new books every year, the Oxford University Press Museum is located on Great Clarendon Street, Oxford. Visits must be booked in advance and are led by a member of the archive staff, displays include a 19th-century printing press, the OUP buildings, and the printing and history of the Oxford Almanack, Alice in Wonderland and the Oxford English Dictionary. The first printer associated with Oxford University was Theoderic Rood, the first book printed in Oxford, in 1478, an edition of Rufinuss Expositio in symbolum apostolorum, was printed by another, anonymous, printer. Famously, this was mis-dated in Roman numerals as 1468, thus apparently pre-dating Caxton, roods printing included John Ankywylls Compendium totius grammaticae, which set new standards for teaching of Latin grammar. After Rood, printing connected with the university remained sporadic for over half a century, the chancellor, Robert Dudley, 1st Earl of Leicester, pleaded Oxfords case. Some royal assent was obtained, since the printer Joseph Barnes began work, Oxfords chancellor, Archbishop William Laud, consolidated the legal status of the universitys printing in the 1630s. Laud envisaged a unified press of world repute, Oxford would establish it on university property, govern its operations, employ its staff, determine its printed work, and benefit from its proceeds. To that end, he petitioned Charles I for rights that would enable Oxford to compete with the Stationers Company and the Kings Printer and these were brought together in Oxfords Great Charter in 1636, which gave the university the right to print all manner of books. Laud also obtained the privilege from the Crown of printing the King James or Authorized Version of Scripture at Oxford and this privilege created substantial returns in the next 250 years, although initially it was held in abeyance. The Stationers Company was deeply alarmed by the threat to its trade, under this, the Stationers paid an annual rent for the university not to exercise its full printing rights – money Oxford used to purchase new printing equipment for smaller purposes
25.
International Standard Book Number
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The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
26.
The Country Dance
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The Country Dance is an oil painting by French artist Jean-Antoine Watteau, located in the Indianapolis Museum of Art, which is in Indianapolis, Indiana. Probably Watteaus earliest painting, created roughly 1706-1710, it depicts a group of quite courtly peasants dancing among the trees, amid the trees, a group of villagers play music while a couple dances. A toddler copies the ladys motions, entertaining the company, rather than the usual contemporary association with debauchery, music here alludes to social harmony and order. The musicians glance coyly at the viewer, actors very aware of their spectators and this sort of interaction is one of Watteaus hallmarks. It is an image of visual extremes, the dark forest background brings the peasants bright clothing into sharp contrast, the rustic setting and the dancers formal attire channel both the fête galante and a formal court celebration transplanted to a charming bit of countryside. This is Watteaus earliest known painting, but already he had developed his own style, though painting a standard northern European subject, he drew heavily on Venetian landscapes, particularly in the atmospheric effects. It is, in effect, a declaration in favor of the Rococo movement with which Watteau would become so heavily associated, the Country Dance was acquired by the IMA in 1974, a gift of Mrs. Herman C. It hangs in the Charles O. McGaughey Gallery and has the accession number 74.98, the Embarkation for Cythera IMA page
27.
L'Enseigne de Gersaint
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LEnseigne de Gersaint, or The Shop Sign of Gersaint, is a painting by Jean-Antoine Watteau, which is considered to be his last masterpiece. It was painted as a sign for the marchand-mercier, or art dealer. According to Daniel Roche the sign functioned more as an advertisement for the artist than the dealer, the picture was originally painted on one canvas, depicting clients and staff at the shop. As a worker packs away a portrait of Louis XIV at the left, at the right an elderly couple examine a painting of nudes, and a pretty young shop assistant, possibly Gersaints wife, shows a painting to a group of well-dressed young people. Watteau probably painted the work in the spring of 1720 when the entrance facade of Gersaints shop was rebuilt. According to the study by Vogtherr and Wenders de Calisse the painting had originally covered the field above the entrance of the shop. These changes to the building were made in the spring of 1720, the artworks in the painting are set alongside the actions of high-society criticism. The young man offering his hand to the woman in pink is set against a series of female nudes, the boxing of Pierre Mignards portrait of the deceased king implies the end of the old régime. The painting never actually functioned as a shop sign, spending only fifteen days at the shop. Watteau himself asked Gersaint to allow him to paint it, complaining of cold fingers that needed some exercise and it was soon bought by Claude Glucq. It was then acquired by Watteaus patron Jean de Jullienne, an engraving was made in 1732 after a small version by Pater who extended Watteaus composition for the print. It attracted the attention of Frederick the Great of Prussia and he bought the painting in 1748 from the Dutch dealer Pieter Boetgens. LEnseigne de Gersaint Story and Analysis LEnseigne de Gersaint at the Web Gallery of Art
Antoine Watteau, Pilgrimage to Cythera, 1717, Smarthistory
