1.
Jacques-Louis David
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Jacques-Louis David was a French painter in the Neoclassical style, considered to be the preeminent painter of the era. David later became a supporter of the French Revolution and friend of Maximilien Robespierre. Imprisoned after Robespierres fall from power, he aligned himself with yet another political regime upon his release, at this time he developed his Empire style, notable for its use of warm Venetian colours. After Napoleons fall from Imperial power and the Bourbon revival, David exiled himself to Brussels, then in the United Kingdom of the Netherlands, where he remained until his death. David had a number of pupils, making him the strongest influence in French art of the early 19th century. Jacques-Louis David was born into a family in Paris on 30 August 1748. When he was nine his father was killed in a duel. He covered his notebooks with drawings, and he said, I was always hiding behind the instructors chair. Soon, he desired to be a painter, but his uncles and he overcame the opposition, and went to learn from François Boucher, the leading painter of the time, who was also a distant relative. Boucher was a Rococo painter, but tastes were changing, Boucher decided that instead of taking over Davids tutelage, he would send David to his friend, Joseph-Marie Vien, a painter who embraced the classical reaction to Rococo. There David attended the Royal Academy, based in what is now the Louvre, each year the Academy awarded an outstanding student the prestigious Prix de Rome, which funded a three- to five-year stay in the Eternal City. Each pensionnaire was lodged in the French Academys Roman outpost, which from the years 1737 to 1793 was the Palazzo Mancini in the Via del Corso. David competed for, and failed to win, the prize for three years, each failure contributing to his lifelong grudge against the institution. After his second loss in 1772, David went on a hunger strike, confident he now had the support and backing needed to win the prize, he resumed his studies with great zeal—only to fail to win the Prix de Rome again the following year. Finally, in 1774, David was awarded the Prix de Rome on the strength of his painting of Erasistratus Discovering the Cause of Antiochus Disease, a subject set by the judges. In October 1775 he made the journey to Italy with his mentor, Joseph-Marie Vien, while in Italy, David especially studied the works of 17th-century masters such as Poussin, Caravaggio, and the Carracci. Mengs principled, historicizing approach to the representation of classical subjects profoundly influenced Davids pre-revolutionary painting, such as The Vestal Virgin, mengs also introduced David to the theoretical writings on ancient sculpture by Johann Joachim Winckelmann, the German scholar held to be the founder of modern art history. In 1779, David toured the newly excavated ruins of Pompeii, while in Rome, David also assiduously studied the High Renaissance painters, Raphael making a profound and lasting impression on the young French artist
Jacques-Louis David
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Self portrait of Jacques-Louis David, 1794,
Musée du Louvre
Jacques-Louis David
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Mademoiselle Guimard as Terpsichore, 1774–5, an early work
Jacques-Louis David
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Equestrian portrait of Stanisław Kostka Potocki (1781)
Jacques-Louis David
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Oath of the Horatii (from 1786)
2.
Oil on canvas
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Oil on Canvas is a live album by the English band Japan, released in June 1983 by Virgin Records. It was released six months after the band had broken up and it has been certified Gold by the British Phonographic Industry for sales in excess of 100,000 copies. The live tracks on the double-album were taken from the performances at the Hammersmith Odeon in November 1982. Since guitarist Rob Dean had left the band in 1981, Japanese session musician Masami Tsuchiya was added to the line-up on guitar, although the album was released some months following the bands much publicised split in late 1982, it was ironically Japans highest charting album in the UK. The album was certified Gold by the BPI in 1988 for 100,000 copies sold, a single, Canton, was released, with the B-side Visions of China. It reached No.42 in the UK Singles Chart, a video version of Oil on Canvas was also released by Virgin Records. This was re-released on DVD in 2006 as The Very Best of Japan, which also features many of the bands promotional videos
Oil on canvas
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Oil on Canvas
Oil on canvas
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Steve Jansen, Mick Karn, David Sylvian, Rich Barbieri, and guest Masami Tsuchiya
3.
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
National Gallery of Art
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National Gallery of Art
National Gallery of Art
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The East Building
National Gallery of Art
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Exhibitions in the West Building
National Gallery of Art
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Exhibitions in the East Building
4.
Washington, D.C.
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Washington, D. C. formally the District of Columbia and commonly referred to as Washington, the District, or simply D. C. is the capital of the United States. The signing of the Residence Act on July 16,1790, Constitution provided for a federal district under the exclusive jurisdiction of the Congress and the District is therefore not a part of any state. The states of Maryland and Virginia each donated land to form the federal district, named in honor of President George Washington, the City of Washington was founded in 1791 to serve as the new national capital. In 1846, Congress returned the land ceded by Virginia, in 1871. Washington had an population of 681,170 as of July 2016. Commuters from the surrounding Maryland and Virginia suburbs raise the population to more than one million during the workweek. The Washington metropolitan area, of which the District is a part, has a population of over 6 million, the centers of all three branches of the federal government of the United States are in the District, including the Congress, President, and Supreme Court. Washington is home to national monuments and museums, which are primarily situated on or around the National Mall. The city hosts 176 foreign embassies as well as the headquarters of international organizations, trade unions, non-profit organizations, lobbying groups. A locally elected mayor and a 13‑member council have governed the District since 1973, However, the Congress maintains supreme authority over the city and may overturn local laws. D. C. residents elect a non-voting, at-large congressional delegate to the House of Representatives, the District receives three electoral votes in presidential elections as permitted by the Twenty-third Amendment to the United States Constitution, ratified in 1961. Various tribes of the Algonquian-speaking Piscataway people inhabited the lands around the Potomac River when Europeans first visited the area in the early 17th century, One group known as the Nacotchtank maintained settlements around the Anacostia River within the present-day District of Columbia. Conflicts with European colonists and neighboring tribes forced the relocation of the Piscataway people, some of whom established a new settlement in 1699 near Point of Rocks, Maryland. 43, published January 23,1788, James Madison argued that the new government would need authority over a national capital to provide for its own maintenance. Five years earlier, a band of unpaid soldiers besieged Congress while its members were meeting in Philadelphia, known as the Pennsylvania Mutiny of 1783, the event emphasized the need for the national government not to rely on any state for its own security. However, the Constitution does not specify a location for the capital, on July 9,1790, Congress passed the Residence Act, which approved the creation of a national capital on the Potomac River. The exact location was to be selected by President George Washington, formed from land donated by the states of Maryland and Virginia, the initial shape of the federal district was a square measuring 10 miles on each side, totaling 100 square miles. Two pre-existing settlements were included in the territory, the port of Georgetown, Maryland, founded in 1751, many of the stones are still standing
Washington, D.C.
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Clockwise from top left:
Smithsonian Institution Building,
Rock Creek Park,
National Mall (including the
Lincoln Memorial in the foreground),
Howard Theatre and the
Frederick Douglass National Historic Site
Washington, D.C.
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Map of the District of Columbia in 1835, prior to the
retrocession
Washington, D.C.
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Ford's Theatre in the 19th century, site of the 1865
assassination of
President Lincoln
Washington, D.C.
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Crowds surrounding the
Reflecting Pool during the 1963
March on Washington
5.
Napoleon I
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Napoleon Bonaparte was a French military and political leader who rose to prominence during the French Revolution and led several successful campaigns during the French Revolutionary Wars. As Napoleon I, he was Emperor of the French from 1804 until 1814, Napoleon dominated European and global affairs for more than a decade while leading France against a series of coalitions in the Napoleonic Wars. He won most of these wars and the vast majority of his battles, one of the greatest commanders in history, his wars and campaigns are studied at military schools worldwide. Napoleons political and cultural legacy has ensured his status as one of the most celebrated and he was born Napoleone di Buonaparte in Corsica to a relatively modest family from the minor nobility. When the Revolution broke out in 1789, Napoleon was serving as an officer in the French army. Seizing the new opportunities presented by the Revolution, he rose through the ranks of the military. The Directory eventually gave him command of the Army of Italy after he suppressed a revolt against the government from royalist insurgents, in 1798, he led a military expedition to Egypt that served as a springboard to political power. He engineered a coup in November 1799 and became First Consul of the Republic and his ambition and public approval inspired him to go further, and in 1804 he became the first Emperor of the French. Intractable differences with the British meant that the French were facing a Third Coalition by 1805, in 1806, the Fourth Coalition took up arms against him because Prussia became worried about growing French influence on the continent. Napoleon quickly defeated Prussia at the battles of Jena and Auerstedt, then marched the Grand Army deep into Eastern Europe, France then forced the defeated nations of the Fourth Coalition to sign the Treaties of Tilsit in July 1807, bringing an uneasy peace to the continent. Tilsit signified the high watermark of the French Empire, hoping to extend the Continental System and choke off British trade with the European mainland, Napoleon invaded Iberia and declared his brother Joseph the King of Spain in 1808. The Spanish and the Portuguese revolted with British support, the Peninsular War lasted six years, featured extensive guerrilla warfare, and ended in victory for the Allies. The Continental System caused recurring diplomatic conflicts between France and its client states, especially Russia, unwilling to bear the economic consequences of reduced trade, the Russians routinely violated the Continental System and enticed Napoleon into another war. The French launched an invasion of Russia in the summer of 1812. The resulting campaign witnessed the collapse of the Grand Army, the destruction of Russian cities, in 1813, Prussia and Austria joined Russian forces in a Sixth Coalition against France. A lengthy military campaign culminated in a large Allied army defeating Napoleon at the Battle of Leipzig in October 1813, the Allies then invaded France and captured Paris in the spring of 1814, forcing Napoleon to abdicate in April. He was exiled to the island of Elba near Rome and the Bourbons were restored to power, however, Napoleon escaped from Elba in February 1815 and took control of France once again. The Allies responded by forming a Seventh Coalition, which defeated Napoleon at the Battle of Waterloo in June, the British exiled him to the remote island of Saint Helena in the South Atlantic, where he died six years later at the age of 51
Napoleon I
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The Emperor Napoleon in His Study at the Tuileries, by
Jacques-Louis David, 1812
Napoleon I
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Napoleon's father
Carlo Buonaparte was
Corsica 's representative to the court of
Louis XVI of France.
Napoleon I
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Napoleon Bonaparte, aged 23, Lieutenant-Colonel of a battalion of Corsican
Republican volunteers
Napoleon I
–
Bonaparte at the
Siege of Toulon
6.
Tuileries Palace
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The Tuileries Palace was a royal and imperial palace in Paris which stood on the right bank of the River Seine. It was the usual Parisian residence of most French monarchs, from Henry IV to Napoleon III, built in 1564, it was gradually extended until it closed off the western end of the Louvre courtyard and displayed an immense façade of 266 metres. After the accidental death of Henry II of France in 1559 and she sold the medieval Hôtel des Tournelles, where her husband had died, and began building the palace of Tuileries in 1564, using architect Philibert de lOrme. The name derives from the tile kilns or tuileries which had occupied the site. The palace was formed by a range of long, narrow buildings. During the reign of Henry IV, the building was enlarged to the south, so it joined the long gallery, the Grande Galerie. During the reign of Louis XIV major changes were made to the Tuileries Palace, from 1659 to 1661 it was extended to the north by the addition of the Théâtre des Tuileries. From 1664 to 1666 the architect Louis Le Vau and his assistant François dOrbay made other significant changes, a new grand staircase was installed in the entrance of the north wing of the palace, and lavishly decorated royal apartments were constructed in the south wing. The kings rooms were on the floor, facing toward the Louvre. At the same time, Louis gardener, André Le Nôtre, the Court moved into the Tuileries Palace in November 1667, but left in 1672, and soon thereafter went to the Palace of Versailles. The Tuileries Palace was virtually abandoned and used only as a theatre, the boy-king Louis XV was moved from Versailles to the Tuileries Palace on 1 January 1716, four months after ascending to the throne. He moved back to Versailles on 15 June 1722, three months before his coronation, both moves were made at the behest of the Regent, the duc dOrléans. The king also resided at the Tuileries for short periods during the 1740s, on 6 October 1789, during the French Revolution, Louis XVI and his family were forced to leave Versailles and brought to the Tuileries where they were kept under surveillance. For the next two years the palace remained the residence of the king. The Tuileries covered riding ring, the Salle du Manège, home to the royal equestrian academy, the royal family tried to escape after dark, on 20 June 1791, but were captured at Varennes and brought back to the Tuileries. The Paris National Guard defended the King, but the daughter of King Louis XVI claimed that many of the guard were already in favor of the revolution, in November 1792, the Armoire de fer incident took place at the Tuileries palace. This was the discovery of a place at the royal apartments. The incident created a scandal that served to discredit the King
Tuileries Palace
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The Tuileries Palace and the
Arc de Triomphe du Carrousel circa 1860. The
Arc de Triomphe de l'Etoile can be seen in the background.
Tuileries Palace
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The Tuileries Palace in the 1600s
Tuileries Palace
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The old medieval Louvre (background) and the Tuileries (foreground) linked by the Grande Galerie along the River Seine, in 1615
Tuileries Palace
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The Tuileries Palace and the
Louvre on the 1739
Turgot map of Paris, during the reign of
Louis XV
7.
Alexander Hamilton, 10th Duke of Hamilton
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Alexander Hamilton, 10th Duke of Hamilton, 7th Duke of Brandon KG PC FRS FSA was a Scottish politician and art collector. Born on 3 October 1767 at St. Jamess Square, London, Hamilton was a Whig, and his political career began in 1802, when he became MP for Lancaster. He received the titles at his fathers death in 1819. He was Lord High Steward at King William IVs coronation in 1831 and Queen Victorias coronation in 1838 and he became a Knight of the Garter in 1836. He held the office of Grand Master of the Freemasons between 1820 and 1822 and he held the office of President of the Highland and Agricultural Society of Scotland between 1827 and 1831. He held the office of Trustee of the British Museum between 1834 and 1852 and he married Susan Euphemia Beckford, daughter of William Thomas Beckford and Lady Margaret Gordon, daughter of Charles Gordon, 4th Earl of Aboyne, on 26 April 1810 in London, England. Beckford was the son of a Lord Mayor of London, William Beckford and his wife Maria Hamilton, Hamilton was a well-known dandy of his day. An obituary notice states that timidity and variableness of temperament prevented his rendering much service to, with a great predisposition to over-estimate the importance of ancient birth. He well deserved to be considered the proudest man in England and he also supported Napoleon and commissioned the painting The Emperor Napoleon in His Study at the Tuileries by Jacques-Louis David. He was always dressed in a military laced undress coat, tights and Hessian boots, Lady Stafford in letters to her son mentioned his great Coat, long Queue, and Fingers coverd with gold Rings, and his foreign appearance. According to another obituary, this time in Gentlemans Magazine he had an intense family pride, Hamilton had a strong interest in Ancient Egyptian mummies, and was so impressed with the work of mummy expert Thomas Pettigrew that he arranged for Pettigrew to mummify him after his death. He died on 18 August 1852 at age 84 at 12 Portman Square, London, England and was buried on 4 September 1852 at Hamilton Palace, Hamilton, Scotland. At the same time he had acquired the sarcophagus of Pabasa, in 1842 Hamilton had begun construction of the Hamilton Mausoleum as repository for the overcrowded family vault at the Palace. His collection of paintings, objects, books and manuscripts was sold for £397,562 in July 1882, the manuscripts were purchased by the German government for £80,000. Some were repurchased by the British government and are now in the British Museum, hansard 1803–2005, contributions in Parliament by the Duke of Hamilton Portrait The Peerage. com Genealogics. org
Alexander Hamilton, 10th Duke of Hamilton
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The 10th Duke of Hamilton, by
Henry Raeburn
Alexander Hamilton, 10th Duke of Hamilton
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Alexander Hamilton at age 15, in a painting by
Joshua Reynolds.
8.
Hamilton Palace
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Hamilton Palace was a large country house located north-east of Hamilton in Lanarkshire, Scotland. The former seat of the Dukes of Hamilton, it was built in 1695, widely acknowledged as having been one of the grandest houses in Britain, the palace was demolished in 1927, due to the prohibitive cost of upkeep and the subsidence caused by nearby coal mines. A new North Front had been planned by the fifth Duke in the 1730s, the external plans were never executed, but Adam did redesign several important staterooms, with stucco work by Clayton. The tenth Duke, who succeeded in 1819, began a wave of total refurbishment and this included heraldic carvings in the main pediment over the entrance, carved by John Greenshields in 1822. The North Front itself was finally completed 1842 by architect David Hamilton using Adams original plans as a structure, carving was by the 16-year-old Patric Park. The north front was 265 feet long and 60 feet high, the state rooms, which included extensive stucco-work, were by Smith and Adam. This largely ensued from his wife Susan/Susannas inheritance of a huge collection from her father William Thomas Beckford. A sumptuous chimneypiece by William Morgan adorned the Dining Rooms fireplace, Hamilton Palace stood at the centre of extensive parklands which, as the main axis, had a great north–south tree-lined avenue over three miles in length. Adam also added a very grand dog kennels at the time to hold dogs for the hunts. The decline began in 1882 when William, the twelfth Duke, after the thirteenth Duke lent his home for use as a naval hospital during World War I, the state of the palace was one of severe neglect necessitating vast sums for restoration. It was returned from use in 1919, but by this time the Duke preferred the smaller. At this time the magazine Country Life featured a number of articles on the palace, as such they represent an invaluable record of the house before the massive sale of contents and fittings, and its demolition in 1921. The Rubens Daniel in the Lions Den is now in The National Gallery of Art, the site of the palace is now occupied by the Hamilton Palace Sports Grounds. Most of the grounds were incorporated into Strathclyde Country Park. When the park was being constructed in 1974, vaulted cellars were discovered which may have belonged to the original house, however, these were not excavated but instead infilled with rubble. Several metres of wrought iron railing from the grounds can be seen outside Hamilton College. Some of the fittings, and photographs of the interior, can be viewed in the Low Parks Museum in Hamilton. The dining room from Hamilton Palace is on view at the Museum of Fine Arts, Boston, in the European period rooms, where it remains the only extant, assembled room from the Palace
Hamilton Palace
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Hamilton Palace circa 1880.
Hamilton Palace
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Hamilton Palace, 1916.
Hamilton Palace
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The Duke of Hamilton's 18th century hunting lodge
Hamilton Palace
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A
Louis XIV armoire sold in 1882, and now in the
Louvre
9.
Archibald Primrose, 5th Earl of Rosebery
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Between the death of his father, in 1851, and the death of his grandfather, the 4th Earl, in 1868, he was known by the courtesy title of Lord Dalmeny. Rosebery first came to attention in 1879–1880 by sponsoring the successful Midlothian campaign of William Ewart Gladstone. He briefly was in charge of Scottish affairs and this finest performance in office came as chairman of the London County Council in 1889. He entered the cabinet in 1885 and served twice as minister, paying special attention to French. He succeeded Gladstone as prime minister and leader of the Liberal party in 1894 and he resigned the party leadership in 1896 and never again held political office. He was widely known as a brilliant orator, a sportsman and marksman. All of these activities attracted him more politics, which grew boring. Furthermore, he drifted to the right of the Liberal party, winston Churchill, observing that he never adapted to democratic electoral competition, quipped, He would not stoop, he did not conquer. Rosebery was a Liberal Imperialist who favoured strong national defence and imperialism abroad and social reform at home, historians judge him a failure as foreign minister and as prime minister. Archibald Philip Primrose was born on 7 May 1847 in his parents house in Charles Street, Mayfair and his father was Archibald Primrose, Lord Dalmeny, son and heir apparent to Archibald Primrose, 4th Earl of Rosebery, whom he predeceased. Lord Dalmeny was a title used by the Earls eldest son and heir apparent, during the Earls lifetime. Lord Dalmeny was MP for Stirling from 1832 to 1847 and served as First Lord of the Admiralty under Lord Melbourne. Roseberys mother was Lady Wilhelmina Stanhope, a historian who wrote under her second married name the Duchess of Cleveland. Lord Dalmeny died on 23 January 1851, having predeceased his father, when the title passed to his son. In 1854 his mother remarried to Lord Harry Vane, the relationship between mother and son was very poor. His elder and favourite sister Lady Leconfield was the wife of Henry Wyndham, Dalmeny attended preparatory schools in Hertfordshire and Brighton and then Eton which he attended between 1860 and 1863, he then went to Brighton College between 1863 and 1865. His remarkable intellect, displayed in debates, attracted the attention of William Johnson Cory, michael Matthew Kaylors Secreted Desires, The Major Uranians, Hopkins, Pater and Wilde explores their personal relationship. Dalmeny proceeded to Christ Church, Oxford, through the years 1865 until 1869, remarkably the three Prime Ministers from 1880 to 1902, namely Gladstone, Salisbury and Rosebery, all attended both Eton and Christ Church
Archibald Primrose, 5th Earl of Rosebery
–
The Right Honourable The Earl of Rosebery
KG PC
Archibald Primrose, 5th Earl of Rosebery
–
Rosebery caricatured by
Spy for
Vanity Fair, 1901
10.
Samuel Henry Kress
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Samuel Henry Kress was a businessman and philanthropist, founder of the S. H. Kress & Co. five and ten cent store chain. With his fortune, Kress amassed one of the most significant collections of Italian Renaissance, in the 1950s and 1960s, a foundation established by Kress would donate 776 works of art from the Kress collection to 18 regional art museums in the United States. Kress was born in the village of Cherryville, near Allentown, Pennsylvania and his father was a retail merchant. His siblings were Mary Conner Kress, Jennie Weston Kress, Palmer John Kress, Claude Washington Kress, another sibling, Elmer Kress, died ten days after birth. Kress never married or had children, young Kress worked in the stone quarries. Intelligent, energetic and precocious, he earned his credentials by the age of 17. His first position was instructor for a class of 80 students and he walked 3 miles each way to the schoolhouse. In 1887, Kress opened a stationery and notions store in Nanticoke, as the business prospered he used his profits to open additional stores, naming his chain S. H. Kress & Co. These eventually would become known as the Kress Five and Dime stores. Unlike many businessmen of his day who only opened their stores in urban areas. These stores became the jewel of many of cities, which only had a dry goods or general store until then. By the mid-1920s, he was living in a penthouse at 1020 Fifth Avenue in New York City, across the street from the Metropolitan Museum of Art and he was a major art collector, and created a foundation to hold and dispose of his vast art collection. Kress died in 1955 and is interred in the Woodlawn Cemetery in The Bronx, S. H. Kress & Co. a chain of five and dime retail department stores, was started in Nanticoke, Pennsylvania, by Samuel H. Kress in 1896. Eventually expanding to over 200 locations nationwide, Kress stores were long a familiar sight in many cities, the Kress chain was known for the fine architecture of the stores, with a number of locations being hailed by architects for their design. A number of former Kress stores, now put to uses, are ranked as landmarks. Some of the most well-known Kress locations included New York Citys Fifth Avenue, Canal Street, New Orleans, in 1964 ownership of Kress was acquired by Genesco, Inc. The company abandoned its center-city stores and moved to the shopping malls, Genesco began liquidating Kress and closing down the Kress stores in 1980. Kress was founder and president of the eponymous Samuel H. Kress Foundation, an avid art lover, he acquired, through art dealer Joseph Duveen, a collection of paintings and sculpture, primarily of the Italian Baroque school
Samuel Henry Kress
–
A Kress store building, showing the characteristic design
11.
Imperial Guard (Napoleon I)
–
The Imperial Guard was originally a small group of elite soldiers of the French Army under the direct command of Napoleon I, but grew considerably over time. It acted as his bodyguard and tactical reserve, and he was careful of its use in battle, the Guard was divided into the staff, infantry, cavalry, and artillery regiments, as well as battalions of sappers and marines. The guard itself as a whole distinguished between the veterans and less experienced members by being separated into three sections, the Old Guard, Middle Guard and Young Guard. The Guard had its origin in the Consular Guard, created November 28,1799, by the union of the Guard of the Directory and the Grenadiers of the Legislature. These formations had for principal purpose the security of the executive and legislative branches of the French Republic and gathered a number of soldiers. One may question their utility, as they did not oppose Napoleons 18 Brumaire coup of 1799, the Consular Guard changed its name to the Imperial Guard on May 18,1804. Its headquarters were located at the Pentemont Abbey in Paris, Napoleon took great care of his Guard, particularly the Old Guard. The Grenadiers of the Old Guard were known to complain in the presence of the Emperor, giving them the nickname Les Grognards, the Guard received better pay, rations, quarters, and equipment, and all guardsmen ranked one grade higher than all non-Imperial Guard soldiers. Other French soldiers even referred to Napoleons Imperial Guard as the Immortals, the Guard played a major part in the climax of the Battle of Waterloo. It was thrown into the battle at the last minute to salvage a victory for Napoleon, completely outnumbered, it faced terrible fire from the British lines, and began to retreat. For the first time in its history the Middle Guard retreated without orders, at the sight of this, Napoleons army lost all hope of victory. The words La Garde meurt mais ne se rend pas. is generally attributed to General Pierre Cambronne and it has been suggested that this was in fact said by another general of the Guard, Claude-Etienne Michel, during their last stand at the Battle of Waterloo. The retort to a request to surrender may have been La Garde meurt, letters published in The Times in June 1932 record that they may have been said by General Michel. The Guard was composed of three echelons, the Old Guard comprised some of the finest soldiers in Europe, who had served Napoleon since his earliest campaigns. The Middle Guard was composed of his veterans from the 1805 to 1809 campaigns, in 1804 the Guard numbered eight thousand men. By the time of Napoleons invasion of Russia in 1812, it had swelled to just under 100,000 men, the Guard had its own artillery, infantry and cavalry components just like a normal Army corps. Created soon after the creation of the Guard itself, the General Staff by 1806 included the four Colonel-Generals of the four divisions of the Guard, all Marshals of France in field rank. It also included an Inspector of Reviews, a Commissioner of War,24 aides-de-camp, and other specialist officers, NCOs, and privates
Imperial Guard (Napoleon I)
–
Grenadier of the
Old Guard in 1813
Imperial Guard (Napoleon I)
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Memorial to the gunners of the Imperial Guard Artillery
Imperial Guard (Napoleon I)
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Officer belt buckle
Imperial Guard (Napoleon I)
–
Grenadier of the 3 e Régiment de Grenadiers-à-Pied de la Garde Imperiale
12.
Order of the Iron Crown
–
The Order of the Iron Crown was an order of merit that was established on June 5,1805, by Napoleon Bonaparte under his title of King Napoleon I of Italy. The order took its name from the ancient Iron Crown of Lombardy and this crown also gave its name to the Order of the Crown of Italy, which was established in 1868. After the fall of the Napoleonic Kingdom of Italy, the order was re-established in 1815 by the Emperor of Austria, Francis I, as the Austrian Imperial Order of the Iron Crown. The Iron Crown of Lombardy, made for Theodelinda, Queen of the Lombards, was alleged to be crafted from one of the nails in the True Cross used in the Crucifixion of Jesus. Regardless of origin, her crown was crafted of six hinged plates of gold, set with precious gems, thus came the term of “Iron Crown”. Upon Theolinda’s death in 628, her crown was donated to the Church at Monza and it was used during the coronation of Holy Roman Emperor Charlemagne, as he took the throne of Lombardy in 774. Later Holy Roman Emperors followed suit in this tradition, during his continued expansion of power, Napoleon Bonaparte conquered Italy in much the same manner as Charlemagne. As a symbolic gesture, he had crowned as King of Italy using the Iron Crown of Lombardy for the coronation. Soon after, Napoleon founded the Order of the Iron Crown on June 5,1805, the Order was divided into three classes, with an allowance of up to 20 grand cross knights,100 commander knights, and 500 ordinary knights. With the eventual end of the Napoleonic Kingdom of Italy, the French version of this order ceased to exist, however, the Emperor of Austria, Francis I, re-established the order in 1815 as the Austrian Imperial Order of the Iron Crown. The ribbon colors of the order were gold and green, with the badge of the order being an imperial eagle set upon a representation of the Iron Crown of Lombardy, knights wore a traditional military style medal on the left chest. Commanders wore a military style medal on the left chest. Holders of the Grand Cross wore a sash over the right shoulder, Napoleon I, Emperor of the French and King of Italy,1806 –1814,1815 Blom, Philipp. To Have and to Hold, An Intimate History of Collectors, leipzig, Kingdom of Saxony, Georg Joachim Goeschen,1819. Media related to Order of the Iron Crown at Wikimedia Commons
Order of the Iron Crown
–
Neck badge and breast star
Order of the Iron Crown
–
Badge of the Order
13.
Culotte
–
Culottes are an item of clothing worn on the lower half of the body. The French word culotte is panties, pants, knickers, trousers, shorts, or breeches, derived from the French word culot, meaning the lower half of a thing, the lower garment in this case. The style of tight trousers ending just below the knee was popularized in France during the reign of Henry III, culottes were normally closed and fastened about the leg, to the knee, by buttons, a strap and buckle, or a draw-string. During the French Revolution of 1789–1799, working-class revolutionaries were known as the sans-culottes – literally, in the United States, only the first five Presidents, from George Washington through James Monroe, wore culottes according to the style of the late 18th century. European Military uniforms incorporated culottes as a standard uniform article, the leg being covered by either stockings, leggings. Culottes were a part of military uniforms during the European wars of the eighteenth-century. Historical Japanese field workers and military Samurai wore hakama that were tight at the bottom as French military culottes. Wider bifurcated wrap-skirt hakama were for horse-back riding, eighteenth and nineteenth-century European women introduced culottes cut with a pattern looking like long hakama, hiding their legs while riding horses. Today Aikido and Kendo masters wear long hakama, to hide their feet from opponents, modern English use of the word culottes describes a split or bifurcated skirt or any garment which hangs like a skirt, but is actually pants. During the Victorian Era long split skirts were developed for horseback riding so that women could sit astride a horse with a mans saddle rather than riding side-saddle. Horse-riding culottes for women were controversial because they were used to break a sexual-taboo against women riding horses when they were expected to hide their lower limbs at all times. Later, split skirts were developed to provide more freedom to do other activities as well, such as gardening, cleaning, bike riding, etc. Culottes are used in uniforms for girls. They can be used along with skirts, or they may be used as a replacement for skirts, culottes are worn as part of a uniform mainly to primary and middle schools. Culottes were also part of the uniform of UK Brownie Guides up until recently, when the uniform was modernised, in place of the term culotte, the term skort is more widely used in some areas. While some garments sold as culottes resemble short trousers, to truly be a skort it needs to look like a skirt, some culottes have a part sewn over only the front, some are shorts with a skirt sewn over them. While these may not be completely the same as skorts, they are called by either name
Culotte
–
Louis XVI, dressed in culottes, drinks a toast to the
sans-culottes
Culotte
–
James Monroe, the last U.S. President who dressed according to the
style of the late 18th century, with his Cabinet in 1823. The president wears knee breeches, while his secretaries wear long
trousers.
Culotte
–
A pair of modern culottes, from the crotch downward, separate legs can be discerned
14.
Empire style
–
From France it spread into much of Europe and the United States. The style originated in and takes its name from the rule of Napoleon I in the First French Empire, when it was intended to idealize Napoleons leadership and the French state. The style corresponds in that intent to the Biedermeier style in the German-speaking lands, Federal style in the United States, the previous style in France was called Louis XVI style. Conventionels saw themselves as antique heroes, children were named after Brutus, Solon and Lycurgus. The festivals of the Revolution were staged by David as antique rituals, even the chairs in which the committee of Salut Publique sat were made on antique models devised by David. In fact Neo-classicism became fashionable. The Empire style turned to the opulence of Imperial Rome. The abstemious severity of Doric was replaced by Corinthian richness and splendour, two French architects, Charles Percier and Pierre Fontaine, were together the creators of the French Empire style. The two had studied in Rome and in the 1790s became leading furniture designers in Paris, where they received commissions from Napoleon. Architecture of the Empire style was based on elements of the Roman Empire and its archaeological treasures. The preceding Louis XVI and Directoire styles employed straighter, simpler designs compared to the Rococo style of the eighteenth century, Empire designs strongly influenced the contemporary American Federal style, and both were forms of propaganda through architecture. It was a style of the people, not ostentatious but sober, the style was considered to have liberated and enlightened architecture just as Napoleon liberated the peoples of Europe with his Napoleonic Code. The Empire period was popularized by the designs of Percier and Fontaine. The designs drew for inspiration on symbols and ornaments borrowed from the glorious ancient Greek, buildings typically had simple timber frames and box-like constructions, veneered in expensive mahogany imported from the colonies. Biedermeier furniture also used ebony details, originally due to financial constraints, ormolu details displayed a high level of craftsmanship. General Bernadotte, later to become King Karl Johan of Sweden and Norway, introduced the Napoleonic style to Sweden, the Karl Johan style remained popular in Scandinavia even as the Empire style disappeared from other parts of Europe. France paid some of its debts to Sweden in ormolu bronzes instead of money, leading to a vogue for crystal chandeliers with bronze from France, after Napoleon lost power, the Empire style continued to be in favour for many decades, with minor adaptations. There was a revival of the style in the last half of the century in France, again at the beginning of the twentieth century. Stalinist architecture is referred to as Stalins Empire style
Empire style
–
The
Arc de Triomphe of
Place de l'Étoile, probably the most famous example of Empire architecture, commissioned in 1806 after the victory at
Austerlitz by
Emperor Napoleon I.
Empire style
–
Napoleon's bedchamber in the
Grand Trianon,
Versailles epitomizes the
neoclassical style of the
First French Empire
Empire style
–
Église de la Madeleine in
Paris, a Temple to the Glory of Napoleon's
Grande Armée
Empire style
–
Kazan Cathedral in
Saint Petersburg.
15.
Napoleon as Mars the Peacemaker
–
Napoleon as Mars the Peacemaker is a colossal heroic nude statue by the Italian artist Antonio Canova, of Napoleon I of France in the guise of the Roman god Mars. He holds a gilded Nike or Victory standing on an orb in his right hand and it was produced between 1802 and 1806 and stands 3.45 metres to the raised left hand. Once on display in the Louvre in Paris, it was purchased from Louis XVIII in 1816 by the British government and it is now on display in Robert Adams stairwell at the Dukes London residence, Apsley House. At Napoleons personal and insistent demand, Canova came to Paris in 1802 to model a bust of him, before returning to Rome to work on the full sculpture. It was completed in 1806 and transported to the Musée Napoléon, by 1814 the sculpture was in the Salle des Hommes Illustres, hidden behind a canvas screen, where it was probably first seen by Wellington. The Musée Napoléon reverted to being the Louvre and its looted sculptures such as the Apollo Belvedere were returned to their original collections, the removal of the Napoleon was also mooted, and Canova offered to re-purchase it. It was sold to the British government in 1816 for 66,000 francs, works by Canova were already being collected by the Duke, and the Prince Regent presented it to him later that year. It was moved to the stairwell in Apsley House in 1817 and it is still on display there. In 1811 a bronze copy of the statue was cast in Rome by Francesco Righetti, a previous attempt to cast the statue had failed. The gilded bronze winged victory on the globe in the hand of the figure was stolen on 25 October 1978. In spite of the reception of the marble statue, Canova had it cast in plaster. Five copies were made, and were destined for the Accademie di Belle Arti of Italy, the best-preserved of these is now, following restoration in Florence, in the Pinacoteca di Brera. It was initially sent, divided into eight sections, to Padova, however, it was not paid for and it was bought by Napoleons nephew, the viceroy Eugène de Beauharnais, and was on display in the Galleria Reale in Palazzo Brera from 1809 to 1814. After the fall of Napoleon it was relegated to the storerooms of the Accademia and it was restored, and installed in the Pinacoteca di Brera in 2009 for the bicentenary of the gallery. How Canova and Wellington honoured Napoleon, by Julius Bryant, Apollo, October 2005 Sewell, christopher M. S. Johns, Portrait Mythology, Antonio Canovas Portraits of the Bonapartes, Eighteenth-Century Studies, Vol.28, No
Napoleon as Mars the Peacemaker
–
Napoleon as Mars the Peacemaker
Napoleon as Mars the Peacemaker
–
The 1811 bronze copy of the statue in the courtyard of
Palazzo Brera, Milan
16.
Napoleon Crossing the Alps
–
Napoleon Crossing the Alps is the title given to the five versions of an oil on canvas equestrian portrait of Napoleon Bonaparte painted by the French artist Jacques-Louis David between 1801 and 1805. In the spring of 1800 he led the Reserve Army across the Alps through the Great St. Bernard Pass, the Austrian forces, under Michael von Melas, were laying siege to Masséna in Genoa and Napoleon hoped to gain the element of surprise by taking the trans-Alpine route. By the time Napoleons troops arrived, Genoa had fallen, but he pushed ahead, the Reserve Army fought a battle at Montebello on 9 June before eventually securing a decisive victory at the Battle of Marengo. The installation of Napoleon as First Consul and the French victory in Italy allowed for a rapprochement with Charles IV of Spain, while talks were underway to re-establish diplomatic relations, a traditional exchange of gifts took place. Charles received Versailles-manufactured pistols, dresses from the best Parisian dressmakers, jewels for the queen, in return Napoleon was offered sixteen Spanish horses from the royal stables, portraits of the king and queen by Goya, and the portrait that was to be commissioned from David. The French ambassador to Spain, Charles-Jean-Marie Alquier, requested the painting from David on Charles behalf. The portrait was to hang in the Royal Palace of Madrid as a token of the new relationship between the two countries, David, who had been an ardent supporter of the Revolution but had transferred his fervour to the new Consulate, was eager to undertake the commission. A fifth version was produced by David and remained in his various workshops until his death, the original painting remained in Madrid until 1812, when it was taken by Joseph Bonaparte after his abdication as King of Spain. He took it with him when he went into exile in the United States, the painting was handed down through his descendants until 1949, when his great grandniece, Eugenie Bonaparte, bequeathed it to the museum of the Château de Malmaison. The version produced for the Château de Saint-Cloud from 1801 was removed in 1814 by the Prussian soldiers under von Blücher who offered it to Frederick William III King of Prussia and it is now held in the Charlottenburg Palace in Berlin. The 1803 version was delivered to Milan but confiscated in 1816 by the Austrians, however, the people of Milan refused to give it up and it remained in the city until 1825. It was finally installed at the Belvedere in Vienna in 1834 and it remains there today, now part of the collection of the Österreichische Galerie Belvedere. The version kept by David until his death in 1825 was exhibited at the Bazar Bonne-Nouvelle in 1846, in 1850 it was offered to the future Napoleon III by Davids daughter, Pauline Jeanin, and installed at the Tuileries Palace. In 1979, it was given to the museum at the Palace of Versailles, the Spanish ambassador, Ignacio Muzquiz, informed Napoleon and asked him how he would like to be represented. Napoleon initially requested to be reviewing the troops but eventually decided on a scene showing him crossing the Alps. In reality the crossing had been made in fine weather and Bonaparte had been led across by a guide a few days after the troops, few drafts and preparatory studies were made, contrary to Davids normal practice. The lack of studies may in part be explained by Bonapartes refusal to sit for the portrait. He had sat for Gros in 1796 on the insistence of Joséphine de Beauharnais, do you think that the great men of Antiquity for whom we have images sat
Napoleon Crossing the Alps
–
Napoleon Crossing the Alps
Napoleon Crossing the Alps
–
First
Versailles version
Napoleon Crossing the Alps
–
Second Versailles version
Napoleon Crossing the Alps
–
David's
unfinished portrait of Napoleon from 1798
17.
Prince Napoleon
–
Napoleon turned the Grande Armée against every major European power and dominated continental Europe through a series of military victories during the Napoleonic Wars. He installed members of his family on the thrones of client states, the House of Bonaparte formed the Imperial House of France during the French Empire, together with some non-Bonaparte family members. The dynasty held power for around a decade until the Napoleonic Wars began to take their toll, between the years 1852 and 1870 there was a Second French Empire, when a member of the Bonaparte dynasty again ruled France, Napoleon III, the son of Louis Bonaparte. However, during the Franco-Prussian War of 1870-1871 the dynasty was ousted from the Imperial Throne. Since that time there has been a series of pretenders, supporters of the Bonaparte familys claim to the throne of France are known as Bonapartists. Current head Jean-Christophe, Prince Napoléon, has a Bourbon mother, the Bonaparte family were from minor Italian nobility who held most of their property in the hill town of San Miniato near Florence, Italy. The name derives from Italian, buona, good and parte, after settling in Florence the family enjoyed a relationship with the then ruling Medici family. Jacopo Buonaparte was a friend and advisor to Medici Pope Clement VII, jacopo was also a witness to and wrote an account of the sack of Rome, which is one of the most important historical documents recounting that event. Jacopos brother Benedetto Buonaparte maintained political neutrality, the family later separated into two branches, One stayed in San Miniato, and the other moved to Sarzana. Buonaparte-Sarzana, Nobili di Sarzana had been compelled to leave Florence due to the defeat of the Ghibellines, a member of the Sarzana branch and ancestor to Napoleon, Francesco Buonaparte came to Corsica in 16th century when the island was in Genoese possession. The Buonaparte tomb lies in the Church of San Francesco in San Miniato, the last member of the Italian branches was a canon named Gregorio Bonaparte, who died in 1803 leaving Napoleon as heir. Napoleon is the most prominent name associated with the Bonaparte family because he conquered much of the Western world during the part of the 19th century. He was elected as First Consul of France on 10 November 1799 with the help of his brother, Lucien Bonaparte and he was crowned Emperor of the French and ruled from 1804–1814,1815. Napoleons son Napoléon François Charles Joseph was created King of Rome and was later styled Napoléon II by loyalists of the dynasty, with his death, the family lost much of its remaining political appeal, though claimants continue to assert their right to the imperial title. A political movement for Corsican independence surfaced in the 1990s which included a Bonapartist restoration in its programme and he was a minor official in the local courts. Prince Napoléon Lucien Charles Murat, married Caroline Georgina Fraser, Prince Louis Napoléon Murat, married in Odessa, Eudoxia Mikhailovna Somova, had issue now extinct in male line. S. In 1804 Napoleon I changed the arms to Azure an imperial eagle or, the change applied to all members of his family except for his brother Lucien and his nephew, the son from Jeromes first marriage. According to a studies by G. Lucotte and his coauthors based on DNA research since 2011 and this haplogroup, rare in Europe, has its highest concentration in Ethiopia and in the Near East
Prince Napoleon
–
Napoleon Crossing the Alps (1801), by Jacques-Louis David.
Prince Napoleon
–
House of Bonaparte
Prince Napoleon
–
The Four Napoleons
Prince Napoleon
–
Jérôme Bonaparte, founder of the legitimate line
18.
Fleurs-de-lis
–
The fleur-de-lis or flower-de-luce is a stylized lily that is used as a decorative design or symbol. Many of the saints are depicted with a lily, most prominently St. Joseph. The fleur-de-lis is represented in Unicode at U+269C in the Miscellaneous Symbols block and it remains an enduring symbol of France that appears on French postage stamps, although it has never been adopted officially by any of the French republics. According to French historian Georges Duby, the three represent the medieval social classes, those who worked, those who fought. It is unclear where the fleur-de-lis originated, among the Egyptians, Persians, Arabs and Greeks, this arabesque evoked warrior-like power. In France it is used in city emblems like in the coat of arms of the city of Lille, Saint-Denis, Brest, Clermont-Ferrand, Boulogne-Billancourt. The fleur-de-lis was the symbol of Île-de-France, the core of the French kingdom, many of the current departments use the ancient symbol on their coats to express this heritage. In Italy, the fleur de lis, called giglio is mainly known as the crest of the city of Florence, in the Florentine fleurs-de-lis, the stamens are always posed between the petals. This heraldic charge is known as the Florentine lily to distinguish it from the conventional design. As an emblem of the city, it is found in icons of Zenobius, its first bishop. Several towns subjugated by Florence or founded within the territory of the Florentine Republic adopted a variation of the Florentine lily in their crests, often without the stamens. The heraldic fleur-de-lis is still widespread, among the cities which use it as a symbol are some whose names echo the word lily, for example, Liljendal, Finland. This is called canting arms in heraldic terminology, other European examples of municipal coats-of-arms bearing the fleur-de-lis include Lincoln in England, Morcín in Spain, Wiesbaden in Germany, Skierniewice in Poland and Jurbarkas in Lithuania. The Swiss municipality of Schlieren and the Estonian municipality of Jõelähtme also have a fleur-de-lis on their coats, in Malta, the town of Santa Venera has three red fleurs-de-lis on its flag and coat of arms. Another suburb which developed around the area known as Fleur-de-Lys. The coat of arms of the medieval Kingdom of Bosnia contained six fleurs-de-lis, understood as the native Bosnian or Golden Lily and this emblem was revived in 1992 as a national symbol of the Republic of Bosnia and Herzegovina and was the flag of Bosnia-Herzegovina from 1992 to 1998. The state insignia were changed in 1999, the former flag of the Federation of Bosnia and Herzegovina contains a fleur-de-lis alongside the Croatian chequy. Fleurs also appear in the flags and arms of cantons, municipalities, cities
Fleurs-de-lis
–
Stylized flowers from
Ishtar Gate in Babylon
Fleurs-de-lis
–
A fleur-de-lis
Fleurs-de-lis
–
15th-century manuscript illumination of an
angel sending the fleurs-de-lis to
Clovis
Fleurs-de-lis
19.
Smarthistory
–
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
Smarthistory
–
External video
20.
Khan Academy
–
Khan Academy is a non-profit educational organization created in 2006 by educator Salman Khan with a goal of creating an accessible place for people to be educated. The organization produces short lectures in the form of YouTube videos and its website also includes supplementary practice exercises and tools for educators. All resources are available to users of the website, the website and its content are provided mainly in English, but are also available in other languages like Spanish, Portuguese, Turkish, French, Bengali and Hindi. The organization started in 2004 when Sal Khan tutored one of his cousins on the Internet using a service called Yahoo Doodle Images, after a while, Khans other cousins began to use his tutoring service. Because of the demand, Khan decided to make his videos watchable on the Internet, later, he used a drawing application called SmoothDraw, and now uses a Wacom tablet to draw using ArtRage. Tutorials are recorded on the computer, the positive responses of students prompted Khan to quit his job in 2009, and focus on the tutorials full-time. Khan Lab School, a school founded by Salman Khan and associated with Khan Academy, opened on September 15,2014 in Mountain View, Khan Academy is a 501 nonprofit organization, mostly funded by donations coming from philanthropic organizations. In 2010, Google donated $2 million for creating new courses and translating content into other languages, in 2013, Carlos Slim from the Carlos Slim Foundation in Mexico made a donation for creating Spanish versions of videos. In 2015, AT&T contributed $2.25 million to Khan Academy for mobile versions of the content accessible through apps, according to Khan Academys filings with the U. S. Internal Revenue Service, Salman Khan has received over $350,000 in annual compensation from Khan Academy since 2011, in 2015 it was raised to $556,000. In 2013, President and COO Shantanu Sinha also received over $350,000 in compensation, Khan Academys website aims to provide a personalized learning experience, mainly built on the videos which are hosted on YouTube. The website is meant to be used as a supplement to its videos, because it includes features such as progress tracking, practice exercises. The material can also be accessed through mobile applications, the videos show a recording of drawings on an electronic blackboard, which are similar to the style of a teacher gives a lecture. The narrator describes each drawing and how they relate to the material being taught, nonprofit groups have distributed offline versions of the videos to rural areas in Asia, Latin America, and Africa. Videos range from all subjects covered in school and for all grades, Khan Academy has been criticized because Salman Khan does not have a background in pedagogy. Statements made in some videos have also been questioned, in response to these criticisms, the organization has fixed errors in its videos, expanded its faculty and built a network of content specialists. Khan Academy positions itself as a supplement to in class learning, Khan Academy has gained recognition both nationally and internationally, Bill Gates spoke about Khan Academy at the Aspen Ideas festival. In 2010, Googles Project 10100 provided $2 million to support the creation of courses, to allow for translation of the Khan Academys content
Khan Academy
–
Khan Academy
21.
International Standard Book Number
–
The International Standard Book Number is a unique numeric commercial book identifier. An ISBN is assigned to each edition and variation of a book, for example, an e-book, a paperback and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, the method of assigning an ISBN is nation-based and varies from country to country, often depending on how large the publishing industry is within a country. The initial ISBN configuration of recognition was generated in 1967 based upon the 9-digit Standard Book Numbering created in 1966, the 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108. Occasionally, a book may appear without a printed ISBN if it is printed privately or the author does not follow the usual ISBN procedure, however, this can be rectified later. Another identifier, the International Standard Serial Number, identifies periodical publications such as magazines, the ISBN configuration of recognition was generated in 1967 in the United Kingdom by David Whitaker and in 1968 in the US by Emery Koltay. The 10-digit ISBN format was developed by the International Organization for Standardization and was published in 1970 as international standard ISO2108, the United Kingdom continued to use the 9-digit SBN code until 1974. The ISO on-line facility only refers back to 1978, an SBN may be converted to an ISBN by prefixing the digit 0. For example, the edition of Mr. J. G. Reeder Returns, published by Hodder in 1965, has SBN340013818 -340 indicating the publisher,01381 their serial number. This can be converted to ISBN 0-340-01381-8, the check digit does not need to be re-calculated, since 1 January 2007, ISBNs have contained 13 digits, a format that is compatible with Bookland European Article Number EAN-13s. An ISBN is assigned to each edition and variation of a book, for example, an ebook, a paperback, and a hardcover edition of the same book would each have a different ISBN. The ISBN is 13 digits long if assigned on or after 1 January 2007, a 13-digit ISBN can be separated into its parts, and when this is done it is customary to separate the parts with hyphens or spaces. Separating the parts of a 10-digit ISBN is also done with either hyphens or spaces, figuring out how to correctly separate a given ISBN number is complicated, because most of the parts do not use a fixed number of digits. ISBN issuance is country-specific, in that ISBNs are issued by the ISBN registration agency that is responsible for country or territory regardless of the publication language. Some ISBN registration agencies are based in national libraries or within ministries of culture, in other cases, the ISBN registration service is provided by organisations such as bibliographic data providers that are not government funded. In Canada, ISBNs are issued at no cost with the purpose of encouraging Canadian culture. In the United Kingdom, United States, and some countries, where the service is provided by non-government-funded organisations. Australia, ISBNs are issued by the library services agency Thorpe-Bowker
International Standard Book Number
–
A 13-digit ISBN, 978-3-16-148410-0, as represented by an
EAN-13 bar code
22.
Jupiter and Antiope (David)
–
Jupiter and Antiope is a painting of unknown date, showing Jupiter and Antiope. On the reverse is a sketch of a young woman and it is possibly attributed to Jacques-Louis David, though the attribution is difficult since David disowned most of the works he produced as a young man. David gave this painting to his cousin Marie-Françoise Baudry and her husband and her grandson Adolphe Guillon left it to the musée de Sens on his death in 1896 where it is now held. It was published in 1911 by Charles Saunier, Jupiter et Antiope, in David, catalogue d’exposition du musée du Louvre, Paris, Éditions de la Réunion des musées nationaux,1989
Jupiter and Antiope (David)
–
Bibliography [edit]
23.
The Funeral Games of Patroclus
–
The Funeral Games of Patroclus is a 1778 fresco by Jacques-Louis David. It shows the games for Patroclus during Trojan War, with his body and Achilles at the foot of the pyre. It was first exhibited at the Palazzo Mancini in Rome in September 1778 and it was then lost until 1972, when it was acquired by the National Gallery of Ireland, its present home. Régis Michel et Marie-Catherine Sahut, David, lart et le politique, Paris, Gallimard, « Découvertes »,1988, p. s 12,21,23 Prperatory drawing - Louvre
The Funeral Games of Patroclus
–
References [edit]
The Funeral Games of Patroclus
–
Works
24.
Portrait of Count Stanislas Potocki
–
Its equestrian format is owed to influences from Rubens. Potocki, the subject of the painting, displayed it at Wilanów Palace, ownership passed to the Branicki family in 1892. During the Second World War it was looted by the German forces, then passed into Soviet Russian hands after the war and it is now on show in the Museum of King John IIIs Palace at Wilanów. Media related to Equestrian portrait of Stanisław Kostka Potocki at Wikimedia Commons Portret Stanisława Kostki Potockiego
Portrait of Count Stanislas Potocki
–
Portrait of Count Stanislas Potocki
Portrait of Count Stanislas Potocki
–
Works
25.
Belisarius Begging for Alms
–
Belisarius Begging for Alms is a large-format history painting in oil on canvas by Jacques-Louis David. David exhibited the work at the Salon of 1781 after returning from Italy and it is now on show at the Palais des Beaux-Arts in Lille. The theme of mercy is omnipresent in the work, focusing on the three people considered most base, the woman, the child and the old man who embodies the image of Mercy, the hands of these three individuals horizontally convey the idea of weakness involving need and love. The soldier, meanwhile, in the background, lifts his hands vertically to show his astonishment, the three human ages represented give an idea of the glory of youth and the wreck of old age. David shows us a hero, old and blind, begging in the street with a young child when one of his former soldiers, astonished. The setting is Antique, sober, austere and overwhelming architecture is placed behind the depiction of harsh conditions and this shows that the artist wanted to associate Greek style with heroic themes in the context of the concerns of the artists time. In the very composition of the work of David, however, the essence of the tableau juxtaposes several rococo ideas, nonetheless, the neo-classical perspective can still be found, especially in the ideas behind this painting, a revolutionary offers a meditation on the moral heroism in adversity
Belisarius Begging for Alms
–
Belisarius Begging for Alms
Belisarius Begging for Alms
–
Works
26.
Oath of the Horatii
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Oath of the Horatii, is a large painting by the French artist Jacques-Louis David painted in 1784 and now on display in the Louvre in Paris. The painting immediately became a success with critics and the public. It depicts a scene from a Roman legend about a dispute between two warring cities, Rome and Alba Longa, and stresses the importance of patriotism and masculine self-sacrifice for ones country. Instead of the two cities sending their armies to war, they agree to choose three men from each city, the victor in that fight will be the victorious city. From Rome, three brothers from a Roman family, the Horatii, agree to end the war by fighting three brothers from a family of Alba Longa, the Curiatii. The three brothers, all of whom appear willing to sacrifice their lives for the good of Rome, are shown saluting their father who holds their swords out for them, of the three Horatii brothers, only one shall survive the confrontation. Aside from the three brothers depicted, David also represents, in the right corner, a woman crying whilst sitting down. She is Camilla, a sister of the Horatii brothers, who is betrothed to one of the Curiatii fighters. The principal sources for the story behind Davids Oath are the first book of Livy which was elaborated by Dionysius in book 3 of his Roman Antiquities, however, the moment depicted in Davids painting is his own invention. It grew to be considered a paragon of neoclassical art, the painting increased Davids fame, allowing him to take on his own students. In 1774, David won the Prix de Rome with his work Érasistrate découvrant la cause de la maladie d’Antiochius and this allowed him to stay five years in Rome as a student from the French government. There he met Pecoul, contractor for the buildings, and Pecouls daughter. The kings assistant, Charles-Claude Flahaut de la Billaderie, commissioned Oath of the Horatii with the intention that it be an allegory about loyalty to the state, nevertheless, David departed from the agreed-upon scene, painting this scene instead. The painting was not completed in Paris, but rather in Rome, ultimately, Davids picture manifests a progressive outlook, deeply influenced by Enlightenment ideas, that eventually contributed to the overthrow of the monarchy. As the French Revolution approached, paintings increasingly referred to the loyalty to the rather than the family or the church. Painted five years before the Revolution, the Oath of the Horatii reflects the tensions of the period. In 1789, David painted The Lictors Bring to Brutus the Bodies of His Sons, as revolution in France loomed, paintings urging loyalty to the state rather than to clan or clergy abounded. Although it was painted nearly four years before the revolution in France, in the painting, the three brothers express their loyalty and solidarity with Rome before battle, wholly supported by their father
Oath of the Horatii
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Oath of the Horatii
Oath of the Horatii
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Oath of the Horatii, a second smaller version painted in 1786 by David and his pupil
Girodet, now in
Toledo, Ohio
Oath of the Horatii
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Study for Camilla, black chalk and white highlights
Oath of the Horatii
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Schematic showing the convergence of many elements in the composition at the central point
27.
The Vestal Virgin (David)
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The Vestal Virgin is a painting by Jacques-Louis David. Its date is unknown, but Antoine Schnapper estimates it between 1784 and 1787,1787 being the year given for it in the 1803 Lespinasse sale catalogue. Sophie Monneret suggests 1783, the year as Andromache Mourning Hector. It is a half length study of a virgin and was rediscovered in 1909. Its attribution to David was contested by Gaston Brière, Klaus Holma and Louis Hautecœur, Antoine Schnapper supported David as its artist by looking at the paintings treatment of the figures hand and robe. Since the 1980s it has been in a collection in the USA
The Vestal Virgin (David)
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Bibliography [edit]
28.
The Death of Socrates
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The Death of Socrates is an oil on canvas painted by French painter Jacques-Louis David in 1787. The painting focuses on a subject like many of his works from that decade. In this story, Socrates has been convicted of corrupting the youth of Athens and introducing strange gods, Socrates uses his death as a final lesson for his pupils rather than fleeing when the opportunity arises, and faces it calmly. The Phaedo depicts the death of Socrates and is also Platos fourth and last dialogue to detail the final days, which is also detailed in Euthyphro, Apology. In the painting, an old man in a white robe sits upright on a bed, one hand extended over a cup and he is surrounded by other men of varying ages, most showing emotional distress, unlike the stoic old man. The young man handing him the cup looks the other way, another young man clutches the thigh of the old man. An elderly man sits at the end of the bed, slumped over, to the left, other men are seen through an arch set in the background wall. Although he consulted Father Adry, a scholar on the subject, for simplicity, he removed many characters originally described in the dialogues of Plato. However, he included Apollodorus, the man leaning against the wall just within the arch, David also misrepresented the ages of many of the pupils of Socrates, including Plato. Plato would have been a man at the time of Socratess death. Even the face of Socrates is much more idealized than the classical bust that is used as a reference portrait of Socrates. David uses color to highlight the emotion in this painting, the only two serene men, Socrates and Plato, are garbed in a contrasting bluish-white. The more muted color scheme of this painting may be a response to critics of Davids Oath of the Horatii, David signed this painting in two places, he put his full signature under Crito, the young man clutching Socratess thigh, and his initials under Plato. Davids signature placement often had symbolic meaning – for example, in his painting of Stanisław Kostka Potocki, in Death of Socrates, his signatures also have meaning. His initials under Plato are a reference to the fact that the story comes from Plato and his fuller signature under Crito means that this is the character whom the artist identifies most with. This may be a reference for Crito’s position in the composition – clutching Socratess thigh, in this way, David would be seen as a man who likewise clutches at the morals and values that Socrates represents. There is some controversy as to the origins of the painting, vidal states that the younger of Trudaine de Montignys two sons commissioned Davids Death of Socrates in 1786, but Bordes says that the drawing for Socrates…bears the unexpected date of 1782. However, it is possible that the commission in 1786 was for a painting that David had already conceived as early as 1782, regardless of when it was originally conceived, the painting was completed in 1787, in Paris
The Death of Socrates
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The Death of Socrates
The Death of Socrates
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The Death of Socrates by Jacques-Philip-Joseph de Saint-Quentin
The Death of Socrates
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Works
29.
Portrait of Antoine-Laurent Lavoisier and his wife
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It is now in the Metropolitan Museum of Art in New York. David was paid 7,000 livres for it on 16 December 1788, Rockefeller gave it to the Rockefeller Institute for Medical Research in 1927, and it was acquired from this institution by the Metropolitan Museum in 1977. It shows the couple in his office, with a wood-panelled floor, in the centre the couple face the viewer, with both their heads in three-quarters profile. Marie-Anne is shown standing in profile looking at the viewer and her costume is that in fashion at the end of the 18th century – a white wig, a white dress with a lace collar, and a blue fabric belt. She rests on her husbands shoulder, with her right hand leaning on the table, antoine Lavoisier is seated, wearing a black vest, culottes, stockings and buckled shoes, a white shirt with a lace jabot and a powdered wig. His face turns towards his wife and he rests his arm on the table. The table is covered with velvet, many papers, a casket. A large round-bottom flask and a tap are on the floor to the right, to the tables extreme left is a chair with a large document-case and black cloth on it. The painting is signed at the left, L DAVID. Europe in the age of enlightenment and revolution, a catalog from The Metropolitan Museum of Art Libraries, which contains material on this painting
Portrait of Antoine-Laurent Lavoisier and his wife
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Portrait of
Antoine-Laurent Lavoisier and his
wife
Portrait of Antoine-Laurent Lavoisier and his wife
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Works
30.
The Loves of Paris and Helen
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The Loves of Paris and Helen is a 1788 painting by Jacques-Louis David, showing Helen of Troy and Paris from Homers Iliad. It is now in the Louvre Museum and it was the result of a commission from the comte dArtois. It shows David in his galante phase and was interpreted as a satire on the manners of the comte dArtois, the caryatids in the background are copies of those by Jean Goujon in the Louvre. Cartelfr. louvre. fr Étienne Coche de La Ferté and Julien Guey, Analyse archéologique et psychologique dun tableau de David, Les Amours de Pâris et dHélène, Revue archéologique, vol
The Loves of Paris and Helen
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This article needs additional citations for
verification. Please help improve this article by
adding citations to reliable sources. Unsourced material may be challenged and removed. (February 2015)
The Loves of Paris and Helen
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Works
31.
The Lictors Bring to Brutus the Bodies of His Sons
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The Lictors Bring to Brutus the Bodies of His Sons is a 1789 painting by the French painter Jacques-Louis David in the Neo-Classical manner. The work is housed in the Louvre in Paris, the work had tremendous appeal for the time. Before the opening of the Salon, the French Revolution had begun, the National Assembly had been established, and the Bastille had fallen. The royal court did not want propaganda agitating the people, so all paintings had to be checked before being hung. David’s portrait of Lavoisier, who was a chemist and physicist as well as a member of the Jacobin party, was banned by the authorities for such reasons. When the newspapers reported that the government had not allowed the showing of The Lictors Bring to Brutus the Bodies of His Sons, the people were outraged, the painting was hung in the exhibition, protected by art students. The painting depicts Lucius Junius Brutus, the Roman leader, grieving for his sons, brutuss sons had attempted to overthrow the government and restore the monarchy, so the father ordered their death to maintain the republic. Thus, Brutus was the defender of the republic, at the cost of his own family. On the right, the Mother holds her two daughters, and the servant is seen on the far right, in anguish, Brutus sits on a klismos on the left, alone, brooding, but knowing what he did was best for his country. The whole painting was a Republican symbol, and obviously had immense meaning during these times in France. Note Brutus tense, crossed feet in the picture, the scissors that lie dead center of the painting. Brutus does not even look back as his headless sons are brought into the room, David - The Lictors Returning to Brutus the Bodies of his Sons A video discussion about the painting from Smarthistory, Khan Academy
The Lictors Bring to Brutus the Bodies of His Sons
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The Lictors Bring to Brutus the Bodies of His Sons
The Lictors Bring to Brutus the Bodies of His Sons
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Works
32.
The Death of Marat
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The Death of Marat is a painting by Jacques-Louis David of the murdered French revolutionary leader Jean-Paul Marat. It is one of the most famous images of the French Revolution, David was the leading French painter, as well as a Montagnard and a member of the revolutionary Committee of General Security. The painting shows the radical journalist lying dead in his bath on 13 July 1793 after his murder by Charlotte Corday. Painted in the months after Marats murder, it has described by T. J. Clark as the first modernist painting, for the way it took the stuff of politics as its material. Marat was one of the leaders of the Montagnards, the radical faction ascendant in French politics during the Reign of Terror until the Thermidorian Reaction, Charlotte Corday was a Girondin from a minor aristocratic family and a political enemy of Marat who blamed him for the September Massacre. She gained entrance to Marats rooms with a note promising details of a ring in Caen. Marat suffered from a condition that caused him to spend much of his time in his bathtub. Corday fatally stabbed Marat, though she did not attempt to flee and she was later tried and executed for the murder. As well as being the leading French painter of his generation, David was a prominent Montagnard, and he was also on the Committee of Public Instruction. For example, the painting contains no sign of his problems, his skin appears clean. David, however, drew other details from his visit to Marats residence the day before the assassination, the rug, the papers. David promised his peers in the National Convention that he would later depict their murdered friend invocatively as écrivant pour le bonheur du peuple, the Death of Marat is designed to commemorate a personable hero. Although the name Charlotte Corday can be seen on the held in Marats left hand. Close inspection of this painting shows Marat at his last breath, therefore, David intended to record more than just the horror of martyrdom. The Death of Marat has often compared to Michelangelos Pietà. Note the elongated arm hanging down in both works, David admired Caravaggios works, especially Entombment of Christ, which mirrors The Death of Marats drama and light. David sought to transfer the sacred qualities long associated with the monarchy and he painted Marat, martyr of the Revolution, in a style reminiscent of a Christian martyr, with the face and body bathed in a soft, glowing light. As Christian art had done from its beginning, David also played with multileveled references to classical art, widely admired during the Terror whose leaders ordered several copies of the original work, The Death of Marat slowly ceased to be frontpage history after Robespierres overthrow and execution
The Death of Marat
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La Mort de Marat
The Death of Marat
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Detail of The Death of Marat showing the paper held in Marat's left hand. The letter reads (in French) "Il suffit que je sois bien malheureuse pour avoir droit a votre bienveillance" or in English, "Given that I am unhappy, I have a right to your help"
The Death of Marat
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Charlotte Corday by
Paul Jacques Aimé Baudry, painted 1860.
The Death of Marat
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One of two versions of Death of Marat made by
Edvard Munch in 1907
33.
The Last Moments of Michel Lepeletier
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The Last Moments of Michel Lepeletier, The Death of Lepeletier de Saint-Fargeau or Lepeletier on his Deathbed was a 1793 painting by Jacques-Louis David. Those two paintings and The Death of Young Bara formed a series devoted to martyrs of the French Revolution and it was removed in 1795 and entrusted to the artist, who still owned it on his death in Brussels. It was then sold by his family to the subjects daughter Louise Suzanne de Mortefontaine, after that sale it disappeared and most probably Louise destroyed it and as many engravings after it as possible in order to erase any trace of her fathers part in the Revolution. It is only known through a drawing by Anatole Desvosge and an engraving by Tardieu which partially escaped destruction, aristide Déy, Histoire de la ville et du comté de Saint-Fargeau, Perriquet et Rouillé,1856
The Last Moments of Michel Lepeletier
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Engraving after David's painting
34.
The Tennis Court Oath (David)
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Political reversals and financial difficulties meant that David was never able to finish the canvas, which measures 66 by 101.2 cm and is now in the Musée national du Château de Versailles. All the deputies are shown looking at Bailly, as a device to show their unanimous support of him, the only man to refuse to take the oath, Martin-Dauch, is shown in the lower right hand corner and provides a counterpoint to the general enthusiasm. David also drew all the faces in detail so that every figure was recognisable, above are large windows with smiling figures of the public. In the 18th century, an oath had a value and guaranteed a person would be faithful to their word. During the French Revolution, collective oaths like the court oath were considered as a factor in national unity. Davids painting also portrays the monk Dom Gerle alongside the Protestant pastor Jean-Paul Rabaut Saint-Étienne, the wind blowing through the windows and billowing the curtains also symbolises the wind of Revolution blowing through France. The first engravings showing The Tennis Court Oath only appeared in 1790 and he exhibited a pen and brown ink drawing of his planned painting in the Louvre in 1791 but did not have enough money to follow it through as the subscription had only had a 10% take-up. The National Constituent Assembly thus decided to fund the work from the public treasury instead, David set up a studio in the former Les Feuillants Convent to hold sittings for the deputies, then meeting in the nearby salle du Manège. A large number of deputies to the National Constituent Assembly had been identified as enemies of the Government of Public Safety, David therefore left the work unfinished and the subscribers reclaimed their engraving from him. Davids 1810 The Distribution of the Eagle Standards and his 1814 Leonidas at Thermopylae were directly inspired by The Tennis Court Oath, the work was also reprised and adapted by several artists from the late 18th century onwards. These included Auguste Couder in 1848 and Luc-Olivier Merson in 1883, in 1820, David ceded the engraving rights on Jean Pierre Marie Jazets engraving of The Tennis Court Oath to Daniel Isoard de Martouret. The canvas itself was acquired in 1836 by the royal museums for the Louvre. Analysis of Davids engraving identifying the deputies in the foreground Le Serment du Jeu de paume, quand David récrit lHistoire on the château de Versailles site
The Tennis Court Oath (David)
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The Tennis Court Oath (Le Serment du Jeu de paume) by
David.
The Tennis Court Oath (David)
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Sketch of
Barère ’s face.
The Tennis Court Oath (David)
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Sketch of Le Serment du Jeu de paume by David.
The Tennis Court Oath (David)
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Painting by David, Le Serment du Jeu de paume (
musée Carnavalet)
35.
Psyche Abandoned (David)
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Psyche Abandoned is a c.1795 painting by Jacques-Louis David, and is now in a private collection. It shows Psyche abandoned by Cupid as a female nude in profile against a blue sky. Vertical in format, it represents Davids early style and shows his approach to the nude to be different from the academic canons. A painted study of Psyche appears on three of Davids lists of his own work as a pendant to The Vestal Virgin, long thought lost, it was rediscovered in 1991 and exhibited in the 2010 Louvre exhibition L’Antiquité rêvée. René Verbraeken, Jacques-Louis David jugé par ses contemporains et la postérité, Paris, Léonce Laget,1973
Psyche Abandoned (David)
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References [edit]
Psyche Abandoned (David)
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Works
36.
The Intervention of the Sabine Women
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David began planning the work while he was imprisoned in the Luxembourg Palace in 1795. David hesitated between representing either this subject or that of Homer reciting his verses to his fellow Greeks and he finally chose to make a canvas representing the Sabine women interposing themselves to separate the Romans and Sabines, as a sequel to Poussins The Rape of the Sabine Women. Work on the painting commenced in 1796, after his wife visited him in jail. He conceived the idea of telling the story, to honour his wife, the painting was also seen as a plea for the people to reunite after the bloodshed of the revolution. Its realization took him four years. The painting depicts Romuluss wife Hersilia – the daughter of Titus Tatius, a vigorous Romulus prepares to strike a half-retreating Tatius with his spear, but hesitates. The rocky outcrop in the background is the Tarpeian Rock, a reference to civil conflict and she opened the city gates for the Sabines in return for what they bore on their arms. She believed that she would receive their golden bracelets, instead, the Sabines crushed her to death with their shields, and she was thrown from the rock which since bore her name. The genesis of Les Sabines and the work represented a significant departure for the day. Historical depictions had been typically commissioned, David however, conceived, produced and promoted his work for profit. He produced marketing material to accompany the first exhibition and its 1799 exhibition attracted a large number of paying visitors for several years and in 1819 he sold Les Sabines and his Léonidas at Thermopylae to the Royal Museums for 10,000 francs. Starting in 1977, France issued a series of stamps featuring the head of Hersilia based on Davids painting. After the expulsion of artists including David from the Louvre, the picture could be found in the ancient church of Cluny, David - The Sabine Women A video discussion about the painting from Smarthistory, Khan Academy
The Intervention of the Sabine Women
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The Intervention of the Sabine Women
The Intervention of the Sabine Women
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Works
37.
Portrait of Pope Pius VII
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The Portrait of Pope Pius VII is an 1805 portrait of Pope Pius VII by the French painter Jacques-Louis David to thank the pope for assisting at the coronation of Napoleon I of France. Pope Pius appears in Davids The Coronation of Napoleon, depicted as blessing the emperor, the painting seems to have been commissioned by Count Charles Fleurieu, Quartermaster General for the French emperor, though no written mention of a commission survives. It was painted at the Tuileries around the end of February 1805 from life, David seems to have been won over and impressed by Piuss simplicity and deep humanity, choosing to show him in an introspective pose rather than as the most powerful prelate in Christianity. He was paid 10,000 francs for his work and the portrait was exhibited in the Gallery of the French Senate at its seat in the Château du Luxembourg and then assigned to the Musée Napoléon. It was displayed again at the Château in 1824 before being returned to its permanent home in the Louvre in 1827. David produced three copies of the portrait, assisted by one of his students, two of which were commissioned by Napoleon for the Musée de Fontainebleau and for the Musée du Château de Versailles. David held onto the third copy and took it with him during his exile to Brussels, vertical in format and with a brown background, the painting shows Pius three-quarter-length seated on a red velvet chair embroidered in gold. He has an expression and wears a white zucchetto, a white rochet or tunic, a red velvet pelerine-type camail with ermine cuffs. Piuss arms rest on the arms and his right hand holds a paper on which is written in Latin Pio VII Bonarium Artium Patron. The painting is signed top left with LUD
Portrait of Pope Pius VII
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Portrait of Pope Pius VII
Portrait of Pope Pius VII
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Works
38.
The Coronation of Napoleon
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The Coronation of Napoleon is a painting completed in 1807 by Jacques-Louis David, the official painter of Napoleon, depicting the coronation of Napoleon I at Notre-Dame de Paris. The painting has imposing dimensions, as it is almost 10 metres wide by a little over 6 metres tall, Jacques-Louis David started work on 21 December 1805 in the former chapel of the College of Cluny, near the Sorbonne, which served as a workshop. Assisted by his student Georges Rouget, he put the finishing touches in January 1808, from 7 February to 21 March 1808, the work was exhibited at the Salon annual painting display in 1808, and it was presented to the Salon decennial prize competition in 1810. The painting remained the property of David until 1819, when it was transferred to the Royal Museums, then, it was installed in the Chamber Sacre of the museum of the historical Palace of Versailles on the orders of King Louis-Philippe. In 1889, the painting was transferred to the Louvre from Versailles, David was commissioned by American entrepreneurs to paint a full size replica, in 1808, immediately after the release of the original. He began work that year, painting it from memory, but didnt finish until 1822, the replica was eventually returned to France in 1947, to the originals place in the Palace of Versailles. The painting is a subject of The Public Viewing Davids Coronation at the Louvre, the composition is organised around several axes, and incorporates the rules of neoclassicism. One axis is that passes through the cross and has a vertical orientation. All eyes are turned towards Napoleon, who is the center of the composition, a diagonal line runs from the pope to the empress. Napoleon I, is standing, dressed in robes similar to those of Roman emperors. In the actual painting it is possible to see the outline of what was painted, Napoleon holding the crown above his own head. Joséphine de Beauharnais, is kneeling in a position, as called for in the French Civil Code. She received the crown from the hands of her husband, not the pope and her robe is decorated with silk according to a contemporary cartoon by Jean-Francois Bony. Maria Letizia Ramolino, mother of Napoleon, was placed in the stands by the painter and she occupies a place more important than the pope. Actually, she did not attend the ceremony to protest the friction of Napoleon with his brothers Lucien, Napoleons father, Charles Bonaparte, died in 1785. Maria Letizia asked the painter to give it a place of honour, Louis Bonaparte, who at the beginning of the empire received the title of grand constable, King of Holland, in 1806. He married Hortense de Beauharnais, the daughter of Josephine, Joseph Bonaparte, who was not invited and did not attend because of an argument with Napoleon. This is why his mother did not attend either, after the coronation, he received the title of imperial prince
The Coronation of Napoleon
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The Coronation of Napoleon
The Coronation of Napoleon
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The Characters in the painting
The Coronation of Napoleon
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Turbaned Ottoman ambassador
Halet Efendi in The Coronation of Napoleon (detail).
The Coronation of Napoleon
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Works
39.
The Distribution of the Eagle Standards
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The Distribution of the Eagle Standards is an 1810 painting by Jacques-Louis David depicting a ceremony arranged by Napoleon after his assumption of power as emperor. In it he sought to revive the military ethos of the Roman empire, the event took place on December 5,1804, three days after his coronation. Napoleon distributed eagles based on the Roman aquila of the legions of Rome, Napoleon gave an emotional speech in which he insisted that troops should defend the standards with their lives. In early sketches of the painting David included a figure of Nike, the goddess of victory, floating over the troops. He also insisted that his wife Josephine be removed from the composition and he was preparing to divorce her, since she had failed to provide his heir. The final painting depicted the moment when Napoleon blessed the standards being held out towards him, Napoleon has his arm raised in imitation of ancient adlocutio scenes, which depict Classical heroes addressing troops. Davids composition was influenced by the friezes on Trajans column
The Distribution of the Eagle Standards
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The Distribution of the Eagle Standards
The Distribution of the Eagle Standards
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a study for The Distribution of the Eagle Standards, by J-L David
David's The Emperor Napoleon In His Study at the Tuileries, Smarthistory[3]
